Joel Pautz

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  1. Manfio, or anyone else, care to comment on the accuracy of Stewart Pollen's translation of Cozio's Carteggio in this instance? The relevant passage (regarding regraduation of Strad's by the Mantegazzas) should be around page 420.
  2. My clients are mostly the local school programs, with some regular professional fiddlers and some less regular classical musicians. Some of the fiddlers have to get rehairs at least every 6 months because by then their bow is either missing most of its hair, or it is excessively stretched. Seriously though, I was under the impression that my 'think about getting a rehair every 6 to 12 months depending on your playing habits' suggestion was a well accepted standard among musicians and shops; I haven't gotten any push back by clients over it (but then again, I don't push it on to them eith
  3. On page 119 of Stradivari, Stewart Pollens writes: We tend to think of the work of Stradivari as the pinnacle of violin making, yet Count Cozio di Salabue sent new instruments that he had bought from Paolo, the merchant son of Antonio Stradivari, directly to the Mantegazza brothers in Milan to have them "thinned to perfection" and re-necked to suit the prevailing tonal aesthetic. His source is listed as Cozio di Salabue's Carteggio, pg. 420. So I guess it might be asked if it was really Stradivari's graduations which were imposed upon Del Gesu's work, or was it rather Cou
  4. I'm only just now returning to this thread and noticed that a particular point in this quoted post was not challenged by anyone, and I'm pretty sure that is against the maestronet bylaws somewhere . . . anyway, again, sorry I'm late and the topic is already dead, but here I go - I'd recommend against scraping the hair, even lightly, even with a wood or plastic edge, because I imagine it will wear down the microscopic plates that the rosin adheres to on the strands of hair. If Shellac is peeled / flaked / whatever, I also suppose that it might pull some of these plates off in the process,
  5. As you can probably tell, cleaning bow hair and getting good results isn't so simple and probably is even more difficult if it isn't a skill you've practiced before. When I asked my bowmaking mentor about 'cleaning' / 'washing' bow hair, he said don't bother - after all, bow hair only has a limited lifespan before it is worn down by the instrument's strings. Instead of trying to prolong the life of the rehair with mixed results, just get a fresh rehair. However, this is just what I was told - my only attempt to 'wash' hair with alcohol didn't damage the finish thank goodness, but it did c
  6. I've joined only a few cello tops and backs, first just by doing a simple rub joint (no clamps used), and then trying out a clamping method that I believe was shared by David Burgess (if my memory serves me well?): Basically, by staying outside of your marked out outline you can cut oversized 'button' extensions on both sides of the center joint, which can be clamped with smaller sized clamps. To clamp the center of the plates, glue short but wide tower cleats on either side of the seam - tall enough that the clamp can grab on to it, but short enough to discourage the joint from pivoting
  7. Had a cello in at work today that has obviously had an extensive repair history (the cello is new to me). While fitting a new soundpost for it I noticed these butterfly joints along the back center seam. They fit so well that at first I wasn't sure if they were some type of 'faux' joint, and possibly only colored in. After a closer look I do think that they are ebony inserts, spaced about 10 to 13 cm apart (going from memory after a long day . . .), with linen supporting the seam in between the inserts, as illustrated in the attached photos. The cello is already out of the shop and safely
  8. At my last job I had responsibilities beyond my workbench and I took advantage of the opportunity to make the shop as environmentally friendly as I could. I never placed orders, but accepted many shipments - most of the plastic film can be disposed of at a local grocery (seriously, it's a lot more than most people are aware of!) Styrofoam peanuts and other packing material I dropped off at a local UPS to be reused, and they were always grateful and never acted like I was a nuisance. Ca
  9. A lot of examples and expertise concerning historical saddles in this thread:
  10. To respond to the OP, tapering rib height at the upper block is a common historical practice that is considered the norm today. I'd consider the lack of tapering rib height a more consequential trait than its presence. Just to add to the general confusion considering their motives for adopting the practice, I think it's worth not forgetting that they were also making viols, which have an even more pronounced upper bout taper / break. http://collections.nmmusd
  11. This covers most of what I know about Bergonzi's models. It seems like he adopted Strad's 353ish mm body length, but used a longer neck so as to keep the Strad long form stop length? The turns drop down dramatically causing the scroll eyes to seemingly extend further out. Viewed from the back the 2nd turn off the scroll should be only slightly visible / peeking out just beyond the width of the back of the pegbox. His pegbox outlines very between being a bit bulkier below the A peg, or at other time slimmer / sleeker. His upper and bottom block pins don't get bisected by the purfling
  12. This is the first I hear of a Stradivarius dated 1664 ( Dilworth writes in Tarisio's Carteggio The Young Stradivari Part 2 "Charles Beare says in the Ashmolean catalog that a twin to the ‘Serdet’ exists, lacking the label and its original top. It may be that this was the other ‘Alumnus’ labeled violin of 1665 mentioned by Count Cozio". Although other instruments dated circa 1666 are mentioned in the article, this is the only reference to an instrument predating 1666. I'm away from all of my books at the moment, but I don't recall an
  13. One of my flaws in character is I find it hard to ignore a train wreck . . . Measurements are useless when you have no idea what you are measuring. Your scale is measuring the strength of earth's gravitational pull upon your violin. Tensioning the strings in and of itself does not increase the instruments mass, or change earth's gravitational pull, therefore the instruments weight remains the same. In order to test your hypothesis that a scale is an appropriate tool to detect any downward movement of the soundpost or back resulting from string tension, I suggest you simply flip your vi
  14. Lol, good for you for listening to your dentist. Should you ever need to do a rehair when your wife isn't around, when I travel I simply clamp the thread spool to the table top - the spool no longer turns, and I have plenty of tension to pull my knots tight (more than enough to snap the thread as well). At my rehair bench I have a fixture anchored to my bench leg, a threaded bolt passes through the spool, and the spool is clamped with a washer followed by a wingnut. Again, the spool is fixed, and the fixture allows me to unwind uninhibited on one side.
  15. Pick a method and break it down into steps. Study each step and figure out how it prepares for the next step / contributes to the end result. If you try to make a bow rehair orderly at the end of the process, it's way too late - it needs to start neat, and each step should either prevent it from getting disorganized again, and/ or make it even neater than the previous step. When you know what each step has to accomplish it's a lot easier to prevent accumulating errors from step to step. Familiarity with the entire process allows you to 'flow' through the steps - a lot of errors can happen when