Davide Sora

Hey fellas have you heard the news? You know that Strad's back in town? It won't take long just watch and see ... https://contemporaryviolins.themedia.jp/

Having played the little chemist around Michelmann's ideas and his rosinates for some time, I would love to read your article and see your video. Looking forward.

I do not apply glue on both surfaces, but only on the side of the neck and I have never had a loose fingerboard, so I think this may not be the problem. It could be a problem of too thin glue and excessive absorption (complete?) in the neck. I would try applying glue on the neck and letting it dry to see if it disappears or doesn't form an even layer. This will also give information on any contamination of the surface of the neck, and act as an impregnating agent to avoid absorption in the final gluing of the fingerboard. After re-flattening the neck surface, of course. Without excluding all the other possible causes mentioned above and the possibility of concomitant causes added together, in the worst case scenario.

I would say both, since there is no ideal that can be considered as such. Moreover, it seems to me that the difference is not much, there are other archings of good ancient instruments (the Venetians for example) that deviate more from the Sacconi "ideal".

Nicely put, agreed.

Clearly this cannot work, because a key ingredient is missing: diamond dust! If this still doesn't work, the last chance is to add stardust...

You did the right thing

I definitely agree.

Certainly modern as without artificially produced damage, but the imitation of the antiqued look is undoubtedly present, it cannot be denied. I would call it a "crossover" varnish. I think this entry is missing in the poll questions...

This is the best thing you can hear from a client, and in my opinion the one that gives the luthier the strongest motivation to give the best of himself. Fortunately there are others like you around, maybe not many, but they exist and just find them.

Who is Mancini? I have never heard this name among Cremonese luthiers. It seems like a nice fictional story to promote the magic cushion, nothing more.

One justification could be that having more wood in the heel increases its flexural strength against string pull, reducing the possibility of lowering the fingerboard projection in time. Also, the increased gluing surface at the button increases the strength of the joint. It could be a good and passable justification. Having said that, next time be more careful not to overdo it, because as Bill says it will be probably interpreted as a lack of mastery of the job. I also have a tendency to make deep mortice for the above reasons, but I stop at 6.5 or 7mm at most, measured from the edge.

I fully agree, I also have an idea of the prices for a new bridge much higher than 100 euros, even if obviously the price must be proportionate to the level of the violin. I'm so expensive when it comes to making a new bridge that I prefer to get them for free rather than saying the price. But don't rush into my shop, I want to warn you that first you must own one of my violin to get my services...

Perhaps, but if the wood is not appropriate the risk of failure is the same, or maybe worse.

It will depend on what life has in store for him, who knows, I prefer not to be the one to decide what it will look like. On the other hand, not all ancient instruments have aged well, from the Messiah with the varnish almost intact to those completely worn out there is a big difference, it will be the same for our new instruments too. Who can say what is the best look, fashions are passing from time to time.