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nathan slobodkin

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Everything posted by nathan slobodkin

  1. Marty, While crotch wood is figured it is not necessarily curly and I am not sure if it is actually “stronger” either. There are many kinds of strength and curly wood which is cut into a plank or an instrument back has a large portion of short fibers which make it locally stiffer but more likely to crack under a load in the middle of the plank. I suspect you know more about its vibrational and bending properties than I do but my intuition tells me narrow flame is not always acoustically great while some plain wood is. I have split a lot of firewood and other than interlocking or quilted figure I have never really noticed much difference in how much force is required to split curly versus straight grain.
  2. You might try contacting Thomas Woernle V.M. in Mittenwald. I believe he is a member of the same family and might know something about his ancestor.
  3. Strobels’ books have their uses in particular his tables of instrument measurements but the pictures I have seen of his instruments did not impress me. If you are going to learn from somebody you want to learn from somebody who makes nice violins or who is at least part of a tradition of making which has been proven over time.
  4. Brian Derber’s book is the only one I have ever seen which I think could guide a beginner to make a decent first violin on their own. The C. and J. I have never seen but have heard good things about. The Weishaar is an interesting book on repair although some what dated. I would not recommend Strobel. Having said all that if you are going to be studying at a (good) violin making school you should learn their methods first before exploring alternate methods of doing things.
  5. Oops! I was looking at the other violin.
  6. Balambalam, This is an in expensive student instrument from the vicinity of Markneukirchen . They were made in the hundreds of thousands and varied in quality with most being like this one made for beginning students. it would need a bridge, soundpost, pegs, tailpiece, strings and fingerboard work to be usable. There are modern Chinese instruments which are better violins than this which could be bought for less than the cost of the restoration.
  7. Just had someone tell me that when screws holding the underslide on a frog are made of brass that is generally German while steel are generally French. Not something I have noticed and wondering if this is true. Thoughts?
  8. My approach to "improving" any cello is to fix what is obviously wrong. A pitch of 89 is nuts. Fix it.
  9. Thanks for your responses. I was feeling a bit dense that afternoon. I will have to look carefully at the next older bows which come in with that type of slide as I am guessing there will be some differences between the final finish of the slide and the modern one on this bow. In particular I am guessing I could improve things by deburring and putting a tiny rounded chamfer in the back corners and that there is enough metal to allow a polishing stroke of a fine file or stone on the sides. Also the use of graphite to lubricate the sides of the slide is something I should definitely have thought of before. Thanks again.
  10. Jeffrey, I’m surprised that the section of the string in the pegbox is really involved with the wolf. Also would think that it would be a bit of a pain if it moved around while tuning and or started running into other pegs etc. Any reason to think these work better than weights on the afterlength below the bridge or is this just another thing to try if other remedies don’t help?
  11. Strad, If you don’t mind my asking where are you located? I wonder if there are regional differences in price. I did find some prices in the $15,000 range which I assume are the higher level ones.
  12. Wow! Nice fiddle but that seems high.
  13. Just had the unpleasant task of rehairing and replacing the thumb leather on a modern German commercial viola bow ($2300 list!) which had never been rehaired since new. Glued plugs, seriously stuck slide and thumb leather glued with some kind of horrible goop which could be softened enough to scrape off but left a residue which could not be liquified or dissolved by anything I tried. Any way my question is what would people do about the metal wrapped pearl slide which was WAAY too tight. Obviously on a regular slide a quick stroke of a file fixes the problem but with the metal wrap?? I ended up putting it back in using more force than I felt comfortable with due to no time to screw around with it. Shaving the side of the (parallel) channel could be done but would be a bit of a pain due to not being able to run the chisel past the end of the channel. Any other thoughts? I didn’t even dare lubricate the channel for fear the wax might gum up and make it even more difficult to remove next time. My thought is that ebony will always shrink slightly so the channel gets narrower but I know there are a lot of older bows with wrapped slides which seem to be OK. Any thoughts or suggestions on this welcome.
  14. Any one familiar with current prices of Roth (1R?) violin? Labeled, branded, great condition. Label Strad 1714 1924. Tarisio does not identify model designations so little help there.
  15. Changing violins because of a wolf note seems silly to me. There are probably a variety of changes which will cure or lessen the wolf including as you have already found a different bowing point or pressure. There are usually some kind of trade off with any adjustments but start with the simple stuff like changing strings, tailpiece material, distance between the tailpiece and the bridge, post adjustments and various combinations of all of those. These are only a few of the possible remedies so don't give up without a lot of experimentation.
  16. Try Gamut strings in Duluth Minnesota USA. The make a variety of gut and overspun strings and may be able to help.
  17. 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.
  18. Joe, Does the gummy underneath eventually dry? Days? Years? Could you encourage crackling over time by using lavender oil?
  19. 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.
  20. 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.
  21. 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.
  22. 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?
  23. 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.
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