Ch. Dequincey

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About Ch. Dequincey

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    Junior Member

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    http://dequincey-violin.com

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    Ottawa
  1. SUPER GREAT DEALS [revised 6 Nov 2017]

    Hi Pierre, there are couple of items that might interest me. I've send you a private message about it. Please email me at: dequincey-violin@hotmail.com. Thank you!
  2. Alternative to ebony for fingerboards?

    Thank you everyone, lots of ideas and things to try! For now, the Corene product seems to be the closest to what I was looking for. Also their website provides a good amount of instruction and information!
  3. Alternative to ebony for fingerboards?

    Thanks! Actually I'm trying to stay away from exotic woods for now if I could find a consistent product to work with... I have perceived those last years a growing interest around composite material or "common wood" treatment technology development trying to get results close to what an ideal piece of ebony would be to work with.(literally and acoustically). Does anyone has tried one of those products (or something similar) sold by an accessible supplier?
  4. Alternative to ebony for fingerboards?

    Hello everyone, I am currently doing researches on what is available in the market as an alternative to ebony for fingerboards, as I'd like to try something else. Looking up online, I found: -''Musaica Imports Forte fingerboards'' made from 100% renewable resources. I'm not sure what it means. It kind of looks like some ''green'' advertisement to me. if you know more I'd be curious to get more details about it... -''Sound composite Archotech Fingerboards'' (They have 4 styles of fingerboards to choose from) Also the word IPE (not sure what it is standing for) was mentioned in different threads. I was wondering if someone had tried those materials before? If yes, how is it different from ebony to work with? Also is it different in terms of properties (density, stiffness etc.), does it impact the acoustic differently? (Ideally I'd like to find something quite close to ebony) I would also like to know if there is other alternatives/brands you knew about? Thank you, Charline
  5. Red Pigments

    Recently I was reading an article published in the VSA journal (vol IX, number 3) p48. "Violin Varnish Now and Then" by William Fulton and Stan Schmidt. A sample of varnish from Karl Fruh's "Ex-Gamba" Stradivari cello was studied with the technology of the time (1987). They seem to have found some orpiment particules (arsenic compound) in it, well ok more yellow/orange, for red pigment topic and Iron-earth (couldn't say which kind considering the small amount of the sample).
  6. Violin making in Cuba

    Good to get to read some news from La havanna! And to read that Andres is working in the shop there! Glad to see some of LSF's works results...
  7. unusual violin

    Thanks for the links R MacPherson those are fairly interresting. Nice pictures C. Russell, the bridge is beautiful.
  8. unusual violin

    You're welcome! Thin skin indeed, I think on wikipedia they said it is lamb... Here is an other video about it (there is 3) again no subtitles... I would imagine the seresh to be some sort a gelatine/high glue type of thing. Though the texture kind of remind me a type of glue looking a bit like wax bars I went to buy in a market in Oaxaca with a friend for her father to do some straw mozaic technic thing. (something quite peculiar: http://lapailleenmarqueterie.e-monsite.com/ ) I can't remember the name of this glue though, maybe I could look further later on his website...
  9. unusual violin

    I thought of something similar to the tar (with a different neck though). The sarangi would look quite right. I don't know if this video would be of any interrest: A nice tutorial about how to change the skin, there is no subtitle but the images are fairly clear. Some of her other videos have subtitles though.
  10. How about this fiddle?

    Hi,just throwing some conjectures your way. I was just wondering, if you thought that the marquetry in the back and the head could have been made later by some other wood worker? (perhaps a request of a musician?) Did you look at the varnish under black light? This could give us a clue to know if it was added after varnishing... What is your gut feeling, having the instruments in your hands? Also how original does the "Collin-Mezin" label look? (as we know people who don't mind to add some fake one's) I've seen some marquetry of that style before but more on eastern european/ German instruments.
  11. Strad vs Modern - The results

    I would kind of agree with the 2 spheres concept... We can see more and more of the 2 different classes of violin maker: - The so called self titled "violin maker" - who made one violin by themselves or during a summer course and now have a fancy "violin maker" business card, but are truly amateurs. I guess that's why they had a guild system in Europe. Actually looking through the Mirecourt archives myself concerning the Mirecourt violin maker guild, they were trying to keep a "Standard". I get annoyed quite often to see amateurs talking as they're professionals, especially because their instruments can give a bad reputation to new violin making. (with already a bias of musicians toward buying old instruments) -Concerning the trained, experienced and active violinmakers who really produces instruments. Well, we see just at the VSA the standard is way higher these days than in the 70's or 80's... I saw some winning instruments of that time, and for sure it's nice work but it's an average standard for a professional maker today.
  12. Spirol Bushing Grain

    Thanks Guy for posting the pictures for me!(for some reason my maestronet account doesn't allow me to post pictures :S or I need to figure out some setting up features) Anyway, this is just a plastic version of Chris German wood jig, he uses to "cast" peg shavings before gluing them in the peg hole. I would recommend to read his article in the Wilder book. actually the steel mandrel is a new "toy" we just got and I didn't had a chance yet to try it (just found it would be nice on the pictures ) till now I used the wood mandrel with which I also had issues of it getting stuck sometimes... so I use lots of soap on it and try not to jam it too strongly in the hole when I prepare the bushings.
  13. Spirol Bushing Grain

    I really liked the Chris Germain system... At the workshop I've made a prototype in those plastic material sold by Lee Valley, so glue doesn't stick to it. (and if loading pictures was straight forward for computer dummies I would load them but really, I don't have any clue of how/where to get my "image URL", well I'll try something and see if this works... ) Seem that for some reason unlike Guy (helping me right now) I don't have a "downloading" window under... so sorry people, (if someone can help me...)
  14. No one can say this bow was never played

    I'm very surprise to read this, personally I would assume that someone loving an object so much would take care of it properly and maintain it in a playable condition. That said, an unselfish person would think ahead and be willing to pass on a possibly wonderful playing bow onto the next generation.(thinking further than his/her immediate short term self satisfaction) Ch. Dequincey
  15. Patchy finish

    I have striped my instruments I wasn't happy with, and never had any trouble to get it looking nice in order to restart all over again (after the staining step). And I learned a lot on varnishing from re-doing it. The question is in this case (from the pictures it looks like the spruce has been sealed with something that leaked on it. glue?) If the stain marks comes from the stain which soaked in the spruce (or soaked in varnish). If that is, well I guess there is the "make up" solution with a small brush to rescue it. If this is from the application of the varnish (Is it alcohol or oil varnish?), stripping will save time and give an opportunity to practice brush application.