franciscus

With all due respect, electric guitars are very different beasts. Electric violin must not be too heavy, at first. The second thing could be the way of capturing the vibrations - there is just a few electric violins using magnets. Etc.

Thank you. I know that the very small changes of the angle cause remarkable changes regarding fingerboard projection, but it is from my experience with a few of previously mentioned New York Pfuschereien - I never needed the wedge thick more than a half of millimeter - mostly less. Edit: But, really, is that fingerboard warped or not? As Blank face said "The OP should lay a ruler upon the FB". Is that so complicated?

I really don't understand this method, sorry. What moves here?

You asked and answered in the same post: So, if one goes too far with the thinning, the broken bridge is on the way. Seems as very good idea.

Second that

It is called "pegbox cheek". Rather ugly, real or fake, never mind.

Neck repair?

This "graft" seems to me as a crack, but, beside that, is the fingerboard laying on the top?

Something in those pictures tells me that it is not ordinary trash, so I'd expect the proper construction here. Regarding the poor violins properly set up, I have the same experience, the efforts and time spent in order to do that - aside. 7mm top - wow!

I have no such an experience, but it is quite possible - the ordinary white glue is the dispersion of polyvinyl acetate in the water, so one can dilute it with the water (if thinks that it is needed), and, consequently, boosts the glue's ability to penetrate into the wood. Frankly, I had a few violins repaired with white glue, but every time (maybe I was just lucky), the white glue was laid over the remains of animal glue (maybe because of the fact that if one uses the white glue in this job, one is not very radically consecrated to cleaning), so the scrapping was easy operation, the layer of white glue has gone mostly in one piece.

You're right about the gluing over white glue, but the good thing is that the white glue is not very penetrating thing, so one can remove the remains by scraping or sanding. I usually try to scrap everything I can and, after that, I put the piece of sandpaper between the top and the rib, press the top and the rib together and pull the sandpaper. Enough times to reach the clean surfaces.

I do not think that the "gluing back" would be an issue, but the opening could be, if some strange glue was used. Looking at the pictures of this violin, I vote for animal glue. If you can open it without damaging it, cleaning of the glue's remains is not the space technology - ordinary scraping.

This bridge is very thick, seems to me, particularly in the middle-top region. Is there some special reason for that? Maybe it is the source of "con sordino" effect?

How I see the things,these Mr. Hargrave's inscriptions on the back would prevent me to use it as a wood. I think that it is very good investment and could worth much more than some violin made from it after some - say - 20 years or so. The wood is here just something on Mr. Hargrave wrote something.

Of course - now I am certain that I caught the meaning correctly and that my dictionaries are still valid. I just was delighted by the picturesque and complete description in only one word Cheers, Franc

I checked all my English dictionaries and now I am sure that all are wrong, at least regarding some words.

I never had any problems with Teller's 3 star, for US$ 2.80 each, that I use on student violins, even if the feet are left on 4.20 mm and the top on 1.20 mm. This one: For the slightly better violins, I use Aubert (I think number 7), for US$ 8.00, frankly, I do not know exactly why - maybe just because it is prettier, or because these blanks are (slightly) more consistent regarding the quality and the look, or maybe because it is easier to carve and less prone to chip on the the corners. This one: I do not deal with the high class instruments, so I do not look for anything better. But, I'd really like to know the the meaning of the Teller's stars - one, two, three. I tried to find the answer on the Teller's website, but there is no such an information. Maybe someone here know the meaning of those stars?

There are so many different violins, fiddles, violinist and fiddlers, equipped with all sorts of accessories in all imaginable shapes and conditions, that it is not impossible to come to the situation where the heap of problems appears at once. Recently, I had such a situation and I ask for the help from Mr. Bohdan Warchal, the member of this forum and the person who stands behind the Warchal brand. Occasionally, I had some problems with the other strings, but I have never got any helpful answer, maybe just because the communication between the manufacturer and the user is completely impersonal, or maybe it is just my impression. This time, I got very elaborate analysis of the causes of the problem, a few various possible solutions and even more - the generous friendly move, which is something that one can get only if behind some product stands the right, live person, genuinely devoted to his business. Maybe the strings are not the big deal for some of you, but for me, the strings are something that I have to use "as is", without any possibility to change something, so the assistance in the process of their selection and use is of maximum importance. Which is something I have got from Warchal. I am not in any way connected with the Warchal as a company, nor with Mr. Bohdan Warchal as a person, I am just one humble, pleased customer.

OK, here it is (from the mentioned site): "Hello, my grandfather Milan Trbovich was a Luthier Violin, Viola and Cello maker. He died in 2003 here in Venice, Fl. He worked for Kagen and Gains in Chicago in mid 70s.Thank you for taking the time to respond.Mike Velickovich"

Cannot copy the link to talkbass.com, so search for "trbovich luthier velickovich".

Ax far as I can see, Aivars' post (clearly off-topic) or perhaps call to his Instagram account, made a complete mess in this thread.

I can't see any reason to do that that way - what's wrong in the procedure which includes the removal the saddle, shortening it a bit and returning to its original position?

In order to avoid any misunderstanding, here is, basically, what I meant:

. Actually, I was thinking about wooden pins that are another beasts.

When the nail is thick enough, one can drill the hole through the center and use the screw extractor, or simply screw the self-tapping screw of appropriate size into the hole (if the nail was made from the iron, not the steel). The goal is to turn the nail. If the nail rotates, it can be pulled out easily. I would not try this technique without drill press.