Jump to content
Maestronet Forums


  • Posts

  • Joined

  • Last visited

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

Mikiemax's Achievements


Member (3/5)

  1. Hi Vathek, thanks for the reply. I am fairly certain that it hadn't been plated simply because if it had there would likely be some evidence of such somewhere, and considering the man who repaired it carried out intricate work particularly on the frog and metal fittings I'm sure he would have spotted such and mentioned it as a possibility. However, what you say is interesting and I certainly wasn't aware that Nickel plating of Brass was usual, one further possibility is that it simply was intended to be plated - but never was. Indeed the Luthier, with whom the bow maker works, mentioned it as a possibility, they had discussed, that the bow which appears to be German was constructed during WWII when Nickel and Silver were scare and that is why Brass was used, although he also admitted that Brass should also have been scarce given that ammo shells were made from Brass. We thought that maybe the bow was made just after the War when there was likely a surplus of Brass available from disused shells or recycling of spent shells. That's a good find and I'm surprised I never came across it, I have carried out many searches online - but somehow missed that one. I wonder if the reference is to a Violin or a Bow - the reference is a little unclear - although the actual words used are identical to those I found on my bow. In relation to E. Todt generally - the only other likely reference I could find was of a Ernst Ed Todt - which I found on the Brompton's Website - there is a record of a 1938 Violin sold in Jul 2006 for circa £1000.
  2. Further to this post, I have eventually got around to having the Bow repaired. Thankfully I found a reputable bow-maker who was able to effect a wonderful repair job. I am yet to try out the bow - but the he told me that all-in-all it is a decent bow and was worth repairing. I am told that the Bow is quite unique - in that it is Brass mounted - I will post some photos here when I get the chance for completion sake. Has anyone any experience with Brass mounted/fitted bows? Or any comments re same.
  3. Thanks for the link Jacob. Thanks for the info Florian - it's interesting what you say about the dark patch, I had simply assumed it was a blemish in the wood. I'm not experienced enough to understand if the stick is very stiff - like you suggest, and I'm not sure what you mean by it potentially being weak - I presume you mean it may get damaged easily - so I will take care of it.
  4. Just as an aside - can anyone direct me to an online source where I could find more details on "Bubenreuth" bowmaking and bows etc? I've been looking online - but can't find anything in particular.
  5. Thanks for the reply Craig. In answer to your questions. 1. I believe the bow couldn't really be any straighter as I look along its length. Even at the very tip as I look directly down the shaft from the frog end it is perfectly in line, and at the tip the slight overlap which is visible each side of the stick appears identical. 2. Looking at the lowest point of the shaft, where it is closest to the table - with the hair completely loose. I believe the height from the top of the table is about 1.5 - 2.0 mm, certainly no more. Thanks Brad and Violadamore for the comments re the humidity and bow-hair length. It is useful and interesting information. I agree that more important than the price is whether I like it - and I do - more so every time I pick it up. I have a bow I was getting increasingly frustrated with, and as I said was tentatively searching for something better. I never expected I'd find something so cheap. This was in with a box of bows, most of which I tried and didn't like, and there was no price on it. I saw the issue with the hair and wood touching and thought I'd risk 20 quid on it, but no more incase it couldn't be easily fixed (if it could be fixed at all). So I pointed out my reservations, and that I'd be taking a risk, and offered the store owner €20, and he was happy enough to accept. I'll be glad enough if it turns out to be worth a good bit more than what I a paid for it, but I will be far more pleased if I now have a bow that I can enjoy playing with, which appears to be the case.
  6. Thanks Jacob. "Bubenreuth" eh? That'll give me something interesting to research. I'm guessing if you think it needs (deserves) a rehair - it was at least worth the 20 Euro I paid for it.
  7. Left out these other photos by mistake.
  8. Hi, I recently purchased a bow at a second hand store. At the time I bought it, it seemed to have a problem - with the frog fully 'screwed' back, i.e the hair fully taut (as much as possible) the hair was still touching (very lightly) the wood at the centre of the bow. Anyway I was on the look out for a bow, and thought for the sake of a small risk - this could probably be easily fixed by shortening the hair. I had tried it out a little at the tip and near the frog and liked how it felt, I also liked the look of the wood, and the overall weight - it just felt really nice to me. Also I noticed that someone had carried out a slight 'repair' to the tip - in that the original piece of white plastic there had been replaced by an incorrectly shaped piece - so I figured it had been at least nice enough to rehair and 'repair'. I got it home and oddly enough - by the time I had spent walking back to my house, and visiting a few shops the problem with the loose hair had somewhat righted itself - not fully - but now at full pressure there was at least 5-6 mm between the hair and the wood. Does anyone have any idea how this occurred? Also do you think I may be correct that adjusting the length of the hair will solve the issue I had noticed. I am also adding some photos of the bow, it plays a lot nicer than the bow I am currently using which is a lower end Dorfler. Does anyone have any idea of the likely origin of this Bow? It has no stamp or ID marks that I can see.
  9. Fair enough, I'm not suggesting they're not used at all - which is why I said that examples of them could be found. I don't think the triplets in the teachers example are comparable though as those aren't the one note bowed triplets that either I, or the OP, was referring to, runs of notes in triplet form are obviously common in all types of tunes, and can be bowed in slurs or single bows as required, but I still believe the typical ornament used to substitute two repeated notes in a jig is most typically using a cut as opposed to a bowed triplet and (in my view) that's most likely because the bowed triplet upsets the flow.
  10. "I would suggest that bowed triplets are not generally used in Jigs. I'm sure if you look you will probably find someone using them occasionally, but my own experience is that they are not common practice." Here's the entire paragraph again for what its worth.
  11. Hey Jim the second, I haven't listened back to the tune again to hear the two E's. I'm at work so I can't at the moment. I would suggest that bowed triplets are not generally used in Jigs. I'm sure if you look you will probably find someone using them occasionally, but my own experience is that they are not common practice. I think they would disrupt the flow of the tune too much. Where there are two identical notes in succession, you can typically use a cut to emphasis the rhythm, You just have to tailor the cut to the particular beat of the phrase, but that's not too difficult once you get the mechanics of the cut sorted out, then you just delay the flick until its right on cue, so again it may not be as fast a cut as you'd come across in a reel.
  12. My advice. Be patient and don't buy anything that you haven't held in your hand first, and tried out. I spent the bones of a year trying out various instruments in shops around the Country. I could have, and was willing to spend €1000 +. In the end I wasn't happy with anything until I happened upon a lovely bland looking American Factory fiddle from the 1940's. It probably wasn't everyones cup of tea, but it was perfect for me, and cost me under €400. No cracks/damage etc, and nicely set up. I just got lucky one day that I walked into a little boutique shop in Dublin. So I repeat - be patient - don't buy something you are unsure you like, and certainly don't buy anything you haven't tried. Just keep looking and when you play something that you know you like then worry about the price.
  13. I posted some pictures of my Violin on here a while back (before I had it cleaned up) In some of the pics it looks particularly reddish. They are here: http://www.maestronet.com/forum/index.php?/topic/326179-my-violin-pre-restoration/ I don't think it would appear as reddish now, I must take some more up-to-date photos and see, I'll post some if you want.
  14. Hey, I listened to it. It's a nice tune. You play it quite well. Playing slow is great practice for many things, but is (in my opinion) not a great way to develop the pulse that defines great traditional Irish playing, at least not for a beginner. Its much easier to keep the pulse at a slow level when you have developed some control of the wrist at a faster pace first. I'd suggest you should also make an effort (in private) to play much much faster (without ornamentation at the beginning), with less emphasis on getting good clear notes, but doing your best to maintain a steady rhythm. When you do this try to allow the bow hand to move freely and find its own way to make the transitions between the notes. The pulse rhythm largely depends on a controlled loose free wrist on your bowing hand, and I found that the only way to start working those muscles without tensing them is to give the wrist and bow hand the freedom to find its way under pressure at fast pace while keeping time. A very good tune and straight forward reel to develop the bowing is "The Mountain Road" which has nice string crossings and can be bowed multiple ways within the each play through. So you can find that you can alternate between slurring across strings and long and short individual bow strokes all playing the same notes but giving the tune a variety of pulse and lift as you play through. Another useful technique to develop control of the wrist muscles is to practice bowed triplets, and a great tune to try those in is the hornpipe "The Harvest Home" aka "The Cork Hornpipe". Best of Luck.
  15. I'm surprised you still have power Ben (I presume you are near the Coast). There are an escalating number of power cuts being reported in the last hour and much more to come it seems. Best of Luck.
  • Create New...