nathan slobodkin

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  1. Please do take a proper set of photos as in the pinned directions above. This is a pretty interesting violin with a really charming carved head. I would be interested to see what could be learned about it.
  2. Unless it startles the player into dropping the instrument! Very important to tell players to keep bridges straight. I often have instruments come in that I have to straighten the bridge before I dare examine them.
  3. As cello maker I find this kind of discussion very interesting because even if a maker plays the instrument there is a large difference between what an amateur player wants, needs or experiences versus a top professional. From a makers perspective it certainly seems as if instruments are generally being set up with more tension than was often used in the past. I often see old cellos with Hill or Francais bridges where the projection was as low as 78 mm. which most shops would tend to lift today. This is also coupled with what seem to me (don't know specs) higher tension stiffer strings. I have also noted that with some exceptions soloists and more aggressive players want stiffer set ups and sometimes use all metal strings such as Jargar or Larsen for their lower strings as well as uppers. I assume that this gives them a wider dynamic range where they can play softly by backing off bow pressure or speed yet be able to play louder and rougher when they want to. Can you define what you mean by string response?
  4. No. Overstand is the same as apuis which is the measurement between the top and the fingerboard at the end of the neck where it joins the body. The measurement you are talking about is projection and 90mm is not typical of anything. The highest projection I would ever use would be 85 and that is already higher than normal. If you look at my first answer to your post I explain a possible fix which would not involve resetting the neck.
  5. Phillip, The picture you posted shows you measuring the height of the fingerboard. That is NOT the projection height. The height of the straight edge extended from the fingerboard to the bridge position is the projection and yes 81 would be acceptable. See my previous post in which I called it pitch. It is the same thing.
  6. Given the terminology issues I should have asked how you are measuring things. Brad is correct that projection is the preferred term and you measure it by taking a straight edge long enough to lay on the board from the nut (not on it!) all the way to the end the board and projecting past the end far enough that you can measure the height of the straight edge at the center of the bridge position. I agree with Baroque cello to a point but a 90 mm projection is really excessive and could cause structural problems over time
  7. I have made my own and used herdims as well. You can get beautiful results from either if you dink with them but the Albertis come predinked. I just bought the missing sizes to complete my set.
  8. You are using the term overstand incorrectly. You mean pitch and yes 90 is too high. Overstand refers to the distance from the top edge of the instrument to the bottom of the finger board at the heel of the neck. Normal overstand is 19-24 mm. If it is currently low you have a real problem, If it is high enough you can remove the board, plane down the overstand without touching the nut end and then reglue the board. Since the neck will now be narrower than the board you will have to adjust that and then sand and repolish the neck.
  9. So I just read Borman's article (May 2018) and it seems he did not see the inside of the open fiddle and took the map using CT scans. He attributes the thicker grads at the edges to the very full, non-recurved arching.So the question remains; was the center of the plate even thicker at one point but has been modified?
  10. Didn't realize you were capable of assuming, Don. The grads are certainly quite stout in the top but the pattern is not what I have always assumed Guarneri to have used which would be thicker in the center. I'll see if I can find the Strad articles.
  11. Del Gesu was far more interested in making a living than any consideration of how his work would be viewed after his death. I think like any business man he would have been concerned that his reputation remain good enough not to affect future business and beyond that didn't care
  12. Has anyone here seen the inside of the Vieuxtemps? I was just looking at the strad poster with the Graduation map and was wondering how original they were.
  13. Me too. I hate doing these but they were standard at the Francais shop. personally I think I prefer neck grafts to adding shoes but if the neck is original then the shoe is certainly the way to go.
  14. Lex., I apologize for hijacking this thread and have no idea if your teacher was expecting a commision from the dealer. None the less this is something to consider when asking a teachers advice about a purchase. If any one else wants to comment further on MY topic perhaps another thread could be started to do so and others could continue to try and offer useful advice more pertinent to your original question. Nate