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Florian Schneidt

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  1. That’s what I thought and that’s why I think it can’t be a Vigneron.... Thanks for your answer!
  2. The vuillaime slide has a rounded underside of the stick, whereas the hill slide is cornered. I have a bow that is supposed to be a vigneron, but it has a cornered underslide as in many hill bows... Is that possible?
  3. I have a question: when did the Hills come up with the “Hill-underslide”? Before 1924 or after? A. Vigneron died in 1924, did he make or could he ever have made a bow with an hill underslide? Thanks for any expert opinion! Florian
  4. I've been away for a while, it's been a turbulent time.... This is my latest, next year will see me more productive I hope.
  5. Sorry, I got lost a bit in this thread, now back on track.... Thanks!
  6. About spiral growth: most pernambuco sticks twist a little during the cambering proces, some twist a lot. The twist can occur both ways, it is not always the same direction. (The problem is that you can't be absolutely sure that you have put in that twist by your hands..) I know of one person who believes the trees follow the sun and develop twist in one direction only, just like a field of sunflowers. Most other makers say their twist is random... I'd love to hear other peoples opinion... Sorry for getting this thread even more off topic!
  7. In my opinion it's near to impossible to get an invisible repair here. The glue line will show and the white will be different. I'd use a bit of mammoth, try to find a piece that is close in coulour, insert it like you'd repair an ebony frog and then polish away a bit of the patina of the original to match the two surfaces. Point is to have a structural sound repair without removing (a lot of) original material. Should there ever be a cosmetically satisfying method in the future and the bows value justifies it, the repair can be done over....
  8. Craig, I had look at your sticks on the last page. Did you taper the height of the stick and shape more or less the profile of the head but not taper the sides of the stick and head yet? If that is the way Josh suggested, relax and just continue with his instructions. I do my sides first (including the head sides) before shaping any profile.
  9. Craig, in my opinion there is no difference in difficulty if it is a round or an octagonal stick. If you intend to make a round stick you first need to make it a really good octagon and then 16th and so on, at least if you want a good control of taper and roundness. So, especially as you are doing some Tourte thing, yes, go for octagon.
  10. Frederick, you need to heat the stick from all sides, and to a temperaure near to scorching. This strip will scorch one side of the stick and not heat the other sides well enoug.
  11. I checked my insurance policy and compared it to Jacob Saunders', as a consequence I emailed Larks to ask for confirmation that my policy, which doesn't explicitedly exclude damage done by me, would actually cover a case like the one we are talking about here. If thats the case they offer a reasonably gooed deal, at least if you actually want an insurance. Rodney Mohrs advice on not working on bows that you are not able to pay out on your own, is sound advice too. I mean, the risk is actually very low, and there are not so many bows that are worth more than a couple of thousands. From an insurance company I would expect, that they don't make me starring in a lawsuit when there is a liability, but as of now it is speculation if that is the case here. Edit: Got a reply, saying that accidents at the workbench are covered but not damage as a result of my work. Refering me to exclusion ''Q'' which is on the back of the coverage page, hidden well behind the usual terrorist, nuclear, environmental desaster exclusion....
  12. Mostly the threads on top of the stick in front of the lapping start to fray, where the index finger rests... I haven't had any orchestra player where the lapping lasted more than a few years, yet.
  13. Ski, I was a bit in a hurry and didn't really cover your post. I think the balance point doesn't matter too much, as long as the inherent balance in the stick is alright. I test my bows (in the orchestra) without lapping and my feeling is that the added lapping introduces some sort of stability, but I don't know if that is because there is a change in tactile experience. One other thing: change of strokes at the frog gets smoother. Probably because the weight of the head is counterbalanced.
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