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Everything posted by Jimbow

  1. Hi falstaff, Very beautiful and graceful, too, in a somewhat different way from #3. Both are far better to my eye and taste than #1 and #2. I will go so far as to say I would trade three of my best German Strad copies for either one! Now is that a good deal or what! Jimbow
  2. No. 3 is by far the best scroll to my eye. I'm just a dumb amateur and work mainly on German violins so don't judge my opinion harshly ..Particularily you, John! # 3 is the best scroll for the following reasons: 1)Color is beautiful- Dark amber over a gamboge colored base. 2)Heel end of pegbox adjoining neck is more of a graceful acute angle. 3)Top edge of pegbox maintains width and then tapers down and bends beautifully and swanlike as it approaches the scroll. 4) Scroll seems to be of a constantly changing,evolving radius as the volute is developed. The others look like a constant radius, "machine made". 5) As the volute winds in, the depth or undercut is a natural looking deepening compared with the flat sides of others, particularily #1. This 3 dimensional effect gives a quality and artistic depth not evidenced in #1 and #2. 6) Maybe most important to my impression is the curve and extent of the open relief under the volute as the top end of the pegbox evolves into the volute. Compared with the first two, #3 is far more graceful and expressive instead of pinched and tight. ("Throat", I've been told) Just the impression of an amateur. Sorry I don't know the correct descriptive words. Also, I don't have a clue who made them. Number 3 scroll is a standout winner on gracefulness and overall beauty. No contest here! Jimbow
  3. Clever idea on spiral bushings, OK! Please tell us some more! What thickness and type paper works best? Long fibers of some kind to give it similar strength to what maple would provide? Does glue impregnate paper to the extent you are reaming solid, hardened glue or does your thicker paper deter that? I've always liked the theory of spiral bushings providing circumferential strength to beef up a repaired pegbox crack but have never developed my technique to the point of satisfaction. It is an important repair procedure from what I've read in "Violin Restoration" by H. Weisshaar/ M. Shipman. They also say "...some restorers use thin fiber material to make the shaving" but they don't get specific in the type of "fiber material". Please tell me your secrets...I won't tell anyone! Thank you in advance. Jimbow
  4. Has anyone discovered a method of reading worn stamps on bows and violin backs ? I use a magnifying hood and a light at various angles but some letters and words still remain unreadable. I have heard somewhere that "black light" might work. Surely there is a simple and effective method but I've not been able to find it so far. Any solutions? Jimbow
  5. Come on now, John, what's with this raccoon routine? It is very surprising that you needed any hints with your ability to analyze photos and all your book readin'. How many did you correctly identify? I couldn't attempt a guess even with hints. I didn't try to guess although the exercise was very interesting I thought. This little test demonstrated there are many factors in knowledge, judgment, and experience that we mere mortals may never understand. Identifying violins based on a photo, or even studying the instrument itself can, and does, often confound even the experts! I think I better quit bidding on eBay fiddles too. "The better you are, the more there is to know." Jimbow
  6. Ed, Would salt have any effect on strength of the glue? One problem of working with traditional hide glue is the fast set up "gel" time which results in a very short working time. Heating the parts and the work area helps a lot along with practice clamping and having everything arranged for the gluing process but it is often still a problem. Ben Harrison used to urge..practice clamping it 6 times before gluing. Not a bad idea! Advice on traditional hide gluing techniques from you who have a lot of experience with it would be welcomed by many of us. Jimbow
  7. I have had the bow mite problem too, particularily in one 12 bow case that has a boxed in end where the bow tip ends go. I have tried vacuuming, airing, spraying and mothballs but I still feel there is a bug, or thousands, in there. I have never seen one and have heard they are very tiny. (Yours was 1/8"?) The best approach is probably to pitch my case since it is the old boxed in design which is probably a nice home for critters. I had an old friend that used to recommend chunks of camphor in the violin case but I've never found any. Has anyone heard of that or tried camphor? Jimbow
  8. Some years ago, I had an ebony lined tip separate between the ivory and the ebony. Don't remember where I bought it, but I hate it when something like that happens! In any event I bought a sheet of fiber and lined a few myself and then started using the fiber lined blanks and have had no more trouble. I was never sure why the ebony came apart -- obviously I initially blamed the factory glue adhesion to the ebony but it may have been another unknown factor. I had bought some old stock from a local dealer and it may have been one of those. When forming the shape of the blank, I get the blank just warm enough to bend slowly and gradually as mentioned previously, as excessive heat could affect the factory bond so I try to be very cautious on this forming process. Cost is not a factor, as ebony and fiber lined blanks are essentially the same price. This type repair is so labor intensive that one should always buy the best available material, within reason, of course. For instance, don't install a new $300 frog on a $100 bow. I would like to see more discussions on bow repair. It is quite interesting to hear how others handle similar bow problems. Are many others on this board involved in bow repair? Jimbow
  9. I'm convinced it is a poor design although it is widely used because of low price and ability to adjust to 1:20 or 1:30 taper. We soon learn, though, to never change it if we finally get it close to working correctly. I bought a 4 hole German reamer (for 2x the price) and it is a big improvement but some pegs still require a smaller size. I am ready to order the smaller 4 hole set and use the adjustable #@&%*$ shaver only for the occasional 1/20 old style peg. Patience finally comes to an end! $85 is a small price for maintaining ones sanity! Jimbow
  10. Jay, I have had similar experinces to yours and I am to the point that I won't even mess with bone again. I've had excellent experience with "Imitation Ivory" tips from Howard Core & Co. I like the fiber lined #638110 for under $4 but they also sell ebony lined and unlined. About the same price as bone and so much easier to use! Looks and files just like ivory,too - maybe better. File or sand to desired thickness first. Then establish curvature. I band-sawed a small block of maple to the bow tip face curvature and clamp the blank (with a small "Quick Grip" clamp) into the 2 halves of the blocks as I heat the blocks gradually with a heat gun until it is clamped solid. Then leave it set until it cools and Voila! ..it's ready to glue onto the bow head. I do mark and trim off excess around the sides first and clean tip face with acetone to remove any oil from the sanded wood before gluing. I still like hide glue but some use C/A glue and H.Core offers a special glue also. You may find a better way but this 'works for me'. Jimbow
  11. Andrew I really doubted that your "guesses" were guesses. Rather, you have proved yourself to be a true EXPERT! Congratulations! Jimbow
  12. Looks like Jeff might have 3 great Italians here (or fine copies of). Anyone who feels he/she is an expert authority on the subject of Italian violins needs to step forward and show his stuff! Jimbow
  13. Thanks, Manfio. I have a local source for "King" waterstone stuff. I will follow your recommendations in the next few days and report the results. Thanks for your response. Jimbow
  14. "...Please change the Gerard Depardieu photo for another of of BB!" MANFIO Bardot must be a real beauty since MANFIO is in Sao Paulo, Brazil. I had job assignments in Sao Paulo and in Piracicaba back in 1977. The women there are absolutely, breathtakingly, unbelievably beautiful!! The guys try to keep it a secret, though. Jimbow
  15. Michael, Apparently they are not from the "same grove"! Gosh, she is pretty....puts the current crop to shame! Jimbow
  16. By "dry clearance", I was trying (poorly) to describe the fitup clearance above the button prior to glue being applied. Hide glue acts as a extreme lubricant effectively minimizing any friction in the mortise. As a result,it is sometimes difficult to anticipate how much wedging effect will occur. In resetting a neck during repair,I utilize what has been described as the "SWAG" method ("Scientific wild a-- guess") to determine the optimum clearance between the neck foot and the button-- usually about 1/16" to 1/8", depending on the taper. Occasionally, I have had to build up the mortise sides with spruce scraps and recut the angles. I'm sure your way of plugging mortise completely and re-cutting is the far superior and accurate method. Thanks for your explanation of the whole neck analysis and correction issues. Professionals like you,sharing their expert opinions, is why I like this Board. We do appreciate it! Jimbow
  17. Jacob, At what limit (neck root shim) would a shim in the top block mortise sides also become necessary? Any suggestions on technique? Also, what 'dry' clearance do you allow between neck root and button for subsequent gluing/clamping? (Hope these questions make sense and aren't trade secrets. Books are intentionally? vague.) Jimbow
  18. You make some valid points, Jacob. Maybe ISOC will take some of these recent constructive criticisms to heart and modify his style. Possibility? Jimbow
  19. Sorry, Jacob! Although your posts are superior on technical matters,IMHO, I much prefer to read ISOC's wishful ramblings, tempered with genteel rejoinders by 'falstaff' than your gross and virulent attack on ISOC of 11/28 which I prefer not to repeat (or remember!). Let's all try to raise the level of discourse, please. Admittedly, ISOC could help by stating his points more directly and not try to draw out the thread interminably but we all have different ways of expression. Although ISOC is certainly "Focused" in his opinions, I find him to be a gentleman, although often elusive, in his responses. John does bring up some very interesting facts once in a while and might even be correct on some of his opinions. Ignore him if you choose but let's all try to get along! This is an excellent board and we need to keep it that way. Jimbow
  20. Hi MANFIO, I enjoy reading your posts which I always find thoughtful and meaningful. 1)What grade waterstones do you recommend as a starter set and is there a "best" brand? 2)Recommended shapes for gouges? I use DMT diamond stones (medium and fine) along with natural sharpening stones and hand strop on leather with "Yellowstone" compound. It works well but I am always looking for improvement. I would appreciate any comments. Jimbow
  21. Search for Completed Items indicates 2 of the subject violins received more than one bid. "Old. wonderful violin, inside label: "Degani G.u.E." Sold $1,525.00 -- 6 Bids "Old. wonderful violin, inside label: "Gagliano Ferdinand" Sold $1,375.00 -- 3 Bids Will wonders never cease! Did anyone on this board buy them? Jimbow
  22. The description says at least 5 times "inscribed label Bartolomeo" so seller has plenty of CYA coverage on the maker but he does claim the cello to be old Italian. He could be vulnerable on that "old Italian" claim if not true. Scribed purfling, replaced scroll and "creamy sound" doesn't sound like my kind of bargain collectible cello even with a free hardcase and free USA shipping for $36,500. As I read this lengthy eBay pitch, I could just visualize Johnny Carson doing his salesman skit on the Tonight Show! Can't remember the characters name. Do you older guys remember that? Jimbow (..and I am waiting to hear Michaels comments on the "professional photos"!)
  23. Don, I think what you have there is an Albert Nurnberger bow. There were a bunch of them Nurnbergers in the family over a couple of generations. I have a few of those bows and they are quite good-- valued at $1000 to $3000 at major auction houses. Only one of mine has the stamp on the frog that you describe and I have not yet determined which of the Albert Nurnbergers made it. Mine is a round shaft, nickel silver, and the name stamp is also faint. Take care of yours, I'm quite certain it is a "keeper". Jimbow
  24. John, The refinishing job you did looks great! The color is beautiful as well as the subtle shading. From what I can see on my monitor photo, I would expect that the depth of the finish is quite outstanding in "real life." Can you tell us more about your formulas and methods? Do you feel it had any effect on tone --good or bad? Jimbow
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