LongNeck

Members
  • Content Count

    145
  • Joined

  • Last visited

Everything posted by LongNeck

  1. Am I correct in believing that nobody makes through-neck violins anymore? IDK that violins always break any more than tires always go flat.
  2. I didn't like that the feet would be left a lot thicker than usual. IDK how important that is. And the bridge is left damn thick too, as thick as a blank. It seems that all it saves is cutting the top edge. It doesn't look like much of a gain, and it seems to reduce options. Not sure what fitting of the top curve you have in mind. Maybe you're pulling my leg.
  3. I did return it, and after some little negotiation, the seller promised to refund the price and shipping. It cost me a dollar for return postage. No, not talking about the bridges with the jointed revolving feet. Apparently the idea is that you just stick it under the strings, and you're good to go. Like I said, the bridge was so short that I couldn't have taken much wood off the feet, or the strings might be too low. The product concept is more or less appalling, but they seem to sell a lot of them (many hundreds) on the big auction site. The listing didn't have any description at all---just a title and a photo. The title didn't include the words 'fitted' or 'pre-cut' or similar. The seller acted like I was supposed to know from the picture that it was fitted, also stated in poor English that a shop would charge $50 to fit a bridge, and so I shouldn't have expected much for $10. Ha, ha, what I expected was a bridge blank, and I would cut it myself. I measured the height/width proportion of the pictured bridge, and it did not match the proportion of the bridge I received. I looked through the Teller catalog, and they do not list any fitted bridges. It was a 3-star with an ebony V-inlay. I emailed Teller asking whether it was their off-the-shelf product or whether someone modifies these after Teller sells them. I haven't heard back from them yet.
  4. Of course I intend to fit the feet precisely to the top. BTW I ordered what I thought was a Teller bridge blank, but when it arrived I was unhappy to find that it was a "fitted" bridge, and too short or barely tall enough for sufficient string height on any of my violins. The fit of its feet on the "Gaurneri" in question was horrible, while the fit wasn't nearly as bad on the "Strads". Of course I'm not using it, but it indicated a difference in arching. Okay, I then I'll compare the bass bar position of this violin to that of the others.
  5. It has two labels, both viewed through the bass f-hole: Label: Copie Josef Guarnerius del Jesu zhotovil mistr FRANTISEK L. DUCHON Nachod 1920. Other label: Joseph Guarnerius fecit Cremonae Anno 1714 IHS
  6. I've made a half-dozen bridges for Strads, but now I'm making a bridge for my first Guarneri, and I'm wondering whether I should do anything different for the Guarneri. Do people usually use the same blanks for both? Should I change any of the specs for say string height, foot thickness, bridge thickness, angle with the belly, etc.? I'm not looking for perfection or extreme optimization---just ordinary, accepted practice. Please advise.
  7. Could top-cracking stresses come from some failure of the through-neck design or implementation?
  8. Going a little off-topic ... maybe this will help you (now or eventually) do without tapes. Be sure you have good strings on the violin. If you have decent strings, you should hear sympathetic vibrations from neighboring strings. For example, playing D on the A string will cause the open D string to vibrate an octave lower than the string you are playing. You listen for the vibrations, and that will help you play in tune without looking at your fingers. Low-end strings from major makers will likely be better than what came on your Mendini. Something like Preludes or Tonicas don't cost a fortune but will vibrate sympathetically. Also you can look at your tuner to know whether you are playing in tune, another way to do without tapes.
  9. Yes, I was able to read the date from the convenient header on her post. There are infinitely many other possibilities. You could ask her. She is still a regular visitor.
  10. Well stated, IMO. I think you're touching on the fundamental problem in bow bouncing. Other bounce-related errors may be seen as deficiencies in compensating for this fundamental error---failure, as you say, "to absorb what's left". At any time, as the bow moves, it lies along some line in space. The right hand is moving in space, pulling the frog toward or away from the string. Assuming the bow stays parallel to the bridge, if the frog's motion is not in a line parallel to the line of the bow, the hair will tend to either lift off the string or bounce off the string. Does that make sense?
  11. Thank you. Yes, for what's shown. I talked with the guy again, and he confirmed two cracks about a half-inch apart, from the bass f-hole to the bottom ribbing. He said there were no cracks on the treble side. Does that change your answer at all, and if not, what would you probably do about the cracks, if anything? BTW, is it likely the bow hair was ruined by bow bugs?
  12. Age, quality, value, and anythng it would indicate about those same properties of the violin and bows, if they had been with that case a long time. And anything else that might be remarkable or interesting to the uninformed, thanks.
  13. Yes, I can do a setup if needed, but the seller tells me the sound post is standing and the bridge is in the case. There is a Strad 1738 Cremona label. Conversation with the seller indicates the fingerboard is ebony and the top seam is tight. The seller said he didn't see any obvious problems with the pegs. It's in a consignment shop, belonged to the consigner's grandfather. Price is $100. I've been thinking the same as you, that it's a good sign that it seems to have had a lot of use by someone who knew how to play. The music included is a first position method book though. Kinda worried about cracks.
  14. Thanks for the replies so far. If the stains were from dirt and rosin, wouldn't they have indistinct edges? But the edges are sharp and there are light spots surrounded by dark. Are those features due to incomplete cleaning attempts? If it's dirty rosin, how would you go about cleaning it, or might it be best to skip the cleaning? I would also welcome remarks about the case. I'll try to get the seller to send me some better photos. Mainly I'm looking for a violin to play. If it sounds decent now I would consider buying it and improving it later. I have to drive a couple hours to get much selection of violins.
  15. I'm looking at photos of an old violin online, trying to decide whether to drive to take a look at it. What can be guessed or known from these photos? My main question is regarding the nature of the dark stains on the top. I notice they have some sharp edges. There are some light areas surrounded by dark areas. The treble side of the upper bout is light colored near the edge, while the bass side is dark near the edge. Also the finish on the fingerboard is uneven. Is that from playing the E string in high positions? Do you see indications of cracks? Thanks for your help.
  16. I finally completed this repair. I did it without a tapered reamer or anything like a peg shaver. Wolfjk's advice (see post #22 of the present thread) to use a harder wood for the plug shouldn't be taken lightly. After plugging the hole with cello soundpost (spruce), I botched the drilling and had to drill the hole out larger, replug it, and start again. Then the plug was so large that I knew I wouldn't be drilling the end block, so that issue went away. The second time, I used a half-inch yellow poplar dowel, another soft wood, but by then it didn't matter. After fitting the plug to the hole roughly, using sandpaper, I fit it precisely using artist's graphite tracing paper from the crafts store: repeatedly wrapping it with graphite paper, cramming it into the hole, and scraping away the black marks on the plug. I made a tapered sanding device for forming the final tapered hole: a 6 mm steel rod wrapped helically with printer paper and then with a layer of sandpaper. That required a little work with a pocket calculator. This violin is a Scherl & Roth/E.R. Pfretschner model 301 from 1969. I reused the original end pin, which is a brass pitch pipe painted black.
  17. I thought up a possible objection to sanding that no one has mentioned. I don't know whether it's a realistic concern. I was thinking that abrasives could get embedded in the ends of the soundpost, and that the abrasives would cause increased wear on the plates when moving the soundpost.
  18. I hope they make the ends of the SP conform to the angles of the outsides of the top and back, not to the curves. What you describe would make the ends of the SP concave, whereas they need to be convex to conform to the concave insides of the plates. I set the angle by increasing it a little at a time, at each step trying to make the SP stand vertically on either the top or bottom plate, without putting the sandpaper between the SP and the plate.
  19. That would make an interesting thread of its own. Please start a separate thread if you want to discuss that.
  20. Hear hear. In my mind, if the SP is flat, the edges are bearing more than their share of the load of holding the SP in place, and that predisposes the SP to splintering when it is moved. And that is aside from acoustic considerations.
  21. I'm thinking that the biggest errors of soundpost fit have their origins in limitations of measuring, not in limitations of cutting or sanding.
  22. I never said that a knife was better. I'm trying to determine what's better for me. No solution fits everyone best.
  23. In a different thread, a lot of folks said they use a knife to cut the ends of the sound post---to fit the ends to the sound plates. I've been thinking that sanding the ends would be easier and would give an accurate result. What would be wrong, if anything, with sanding the ends of a sound post?
  24. Yeah, you were wrong about that.