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nathan slobodkin

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About nathan slobodkin

  • Birthday 08/17/1954

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

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  1. Shunyata, I agree with Mr. Butcher that the example you showed is not a good choice to copy. Hard to see from pictures but I think I prefer yours. Perhaps if you slanted the walls of your pegbox in a little more at the throat you would find that you can make the under cutting deeper but still fairly flat along the radial direction. Obviously the curve of the under cut increases as the turns get smaller but I like the area just above the pegbox and around to the forehead of the scroll 'to be slanted but not really hollowed. Hard to describe but if you look at some classical period scrolls I think it would help.
  2. Joe, Does the gummy underneath eventually dry? Days? Years? Could you encourage crackling over time by using lavender oil?
  3. Michael, I think he is talking about the sides of the volute not the fluting. As far as cutting the chamfer early in the process it depends what model/maker you are emulating. There are some makers who cut the chamfer last indicated by a central ridge which IS higher than the edge chamfers. I suspect you have seen this even more often than I have.
  4. Shunyata, I also cut radially except for a very light cleanup around the spiral at the end. If you look at classic Italian work I think you will find most were fairly flat in this area. I use a 16mm #2 sweep gouge for most of the scroll.
  5. As Michal said. I use 137 myself and set the neck to measure 130 mm. from the edge of the top to the front of the nut.
  6. My shop hot plate just burned out and I am looking for another one. Anyone have recommendations for a good varnish cooking hot plate at a reasonable cost?
  7. Yeah. Fit and tension are probably more involved in cracks than placement but weird placement might be an indicator that the technician is inexperienced. The fit can only be seen by removing the rigging and tension can only be judged by feel. Putting in or adjusting a post is something many amateurs think is easy but they are wrong.
  8. Has Maestronet changed the personal messaging? I can’t find the mail symbol or search for past messages. Any help for the technologically challenged old guy appreciated.
  9. But for a Rogeri pattern I would (and have) used a pattern with a thicker central area.
  10. I certainly agree that none of these products are good or necessary which I have already told the potential client. Testing or experimenting after telling the client I will put this stuff on his bow sounds like a bad idea so I will tell him no.
  11. Thanks for the reply. And since no good deed goes unpunished I have more specific questions. Can it be flamed to draw up uneven hairs? Do you normally rehair using water? Does wetting this Coruss stuff have any effect? I would not expect any synthetic to play well but that would be the clients problem. I just want to make sure I don’t have an untidy job which reflects badly on me. The easy way to handle this request is to just say no but as I have mentioned in the past I am kind of the only guy in town and try to be accommodating if possible.
  12. Has any one tried Coruss bow hair? I had never heard of it and some one called asking if I would put some on their bow. As a certified curmudgeon and pessimist I am thinking it must be pretty difficult to work with a material which does not stretch with wetting. While I may get some and try it myself just to see what it is like I have to give this guy an answer this morning and I really don't want to be experimenting on some one else's bow. I normally use a dry rehair technique and get good results but none the less rely on wetting the hair after rehairing to allow the hair to stretch and shrink equalizing the tension of the individual hairs. Like wise occasionally resort to an alcohol lamp to draw up a stray hair or two Other synthetic hair that I have seen was not very satisfactory. Does any one have experience with this new stuff?
  13. The feed back is simple for those who make a living at it. If your instruments sell to decent players or shops then you are doing things right if you can’t pay your rent you are doing things wrong. Since the great majority of my instruments were sold by a variety of other people I can safely say they were sold on their own merits rather than hype or snake oil.
  14. Yeah. Was going to say Pressenda, Rocca etc deserve mention. Italy still had some good makers throughout history.
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