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nathan slobodkin

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About nathan slobodkin

  • Birthday 08/17/1954

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  • Website URL
    Slobodkinviolins.com

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  • Gender
    Male
  • Location
    Bangor ME USA
  • Interests
    Violin and cello maker, repair ,restoration and dealer. Amateur forester

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  1. Lots of fellers should. Seriously if you have $40,000 to spend you will have a great many instruments to chose from and as suggested spending part of that on a really good bow would probably be a very good idea. I would strongly suggest that you do not reject new instruments based on seeing one that you didn’t care for. In the price range you are talking about you will find many very, very good modern instruments while equally priced antique instruments may be lesser instruments which have been priced higher due to rarity. Like wise condition of a new instrument will be obvious while some of the antiques may be heavily restored which if done well is not a problem but you are probably not qualified to even see the repairs let alone know what was done inside. Choosing a good and honest dealer is extremely important. Roland Feller is excellent and all members of the American Federation of Violin and Bowmakers have at the very least demonstrated a level of training and competence to their peers. Best of luck and if you are ever in Maine look me up.
  2. Yup. I have always used Black willow for blocks and linings. I think a softer willow or poplar would be fine for corner blocks but I would not use them for neck or end blocks. Maple blocks sound like a really bad idea. No reason to add weight, pain to carve and maple doesn't glue so well to itself so you could have issues there as well. i have never used spruce but can't believe there would be an appreciable tonal difference between one or the other.
  3. Any one else unable to open these pictures?
  4. Bownut, Are you familiar with the term through neck? still not clear if it has one. Also you might want to search J Saunders excellent post about how to tell the difference between Mittenwald and Markneukirchen Schonbach ones and provide the necessary photos to determine if this is one or the other. As Blank Face says if you are trying to determine if the instrument is worth the work knowing what it actually is would be relevant.
  5. Other way around. It is the lower wings that have been replaced.
  6. I'm going with the music stand theory.
  7. Works great. Make sure you are holding the ruler exactly perpendicular to the center line of the plate or it can mislead you.
  8. The ribs will move once they are off the form but you can easily push them back into place. I start with one corner lined up as well as possible then the other corner on the same side followed by the corners on the opposite side. Then the upper and lower blocks can be pushed into place and if necessary the outer bouts can be pushed around as needed. I clamp everything into place and then release 4-5 clamps at a time to apply the glue before reclamping. The glue can be applied from the inside when gluing the back to avoid getting it on the outside of the ribs. The top glue is thin enough that it can easily be run into the joint without problems.
  9. According to my keyboard guy, who headed the Smithsonian musical instrument dept. for many years, the use of the term "forte" on the label referring to a piano would be consistent with the end of the 18th century. If you are saying G. L. Dykes could not be the maker that is certainly true but the George Langton label looks pretty good to me as a possible original seller. As Jacob points out this does not mean he was the maker but I would be very interested to know more about him and his business. The fact that one of the Dykes sons was given his name is also a bit intriguing and I think unlikely to be a coincidence.
  10. Ginger, There are people here who can see a lot from photos but an in hand examination is always better. Where are you located? You might want to take this to an experienced appraiser and if we knew where you are we could reccomend someone.
  11. Arsalan, Try holding a straight edge a couple of centimeters above your arch with a strong light above and behind it. You will see the shadow of the straightedge on your arching as a very accurate cross section of the arch. I find this extremely helpful in comparing one side to that other and in analyzing the shape as you move it up and down the length of the plate.
  12. I have always left the ribs on the form until ready to glue the plates on. I time it so I can remove the form, shape the blocks then glue on the back. A few hours later I can glue the top on. If I am applying a sealer inside then I will put the sealer on once the back is glued and then clamp the top in place while the sealer drys before gluing the top. The ribs are only free for a day at the most and I have never had much problem with movement.
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