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Everything posted by uguntde

  1. Aren't the front and back in the longitudinal dimension pretty flat around the middle where the sound post sits so that shifting it by 3mm doesn't need a completely new soundpost? How do you ever know it fits exactly?
  2. I once visited Schleske and he had 7 violins available to show. One had a massive wolf that he thought was no problem. Generally, every single one had an excellent sound (I didn't particularly like his replacement of purfling which he used at that time). Here is someone putting the weight in the peg box although I think the wolf is not gone. There was a ink to youtube which git suppressed. Look for 'Wolf eliminator for violin# b by Andre Theunis.
  3. I recently got a P Hel in my hands which I had played before and it had a terrible wolf. A very nice violin, a collector's item. When I got it in my hands the bridge and sound post had fallen over. I reset the sound post and put up the bridge. I cannot find the wolf any more and that wolf was a real pain before (on the B on the D-String). I have no idea what I did, the fix came by accident. I used the old bridge position as marked in the varnish and set the sound post close to the bridge (not too much tension to start with and left it like that). Nothing extraordinary. I also have long had a Derazey with a massibe wolf on the C (D-string, depending on the weather also on the A string where it becomes a real pain). This made me never play it for years even though it has a very beautiful and powerful tone. At one point I added weight to the tail piece and it was all gone. In the end I fixed a very small piece of roofer's lead on the bottom of the tail piece with double-sided tape. This has been a permannent fix for a long time now. I have fixed many wolfs. Usually adding weight somewhere helps. I also use magnets to identify where weight is needed. If you put magnets on the front make sure to have some tape underneath in order not to scratch the fiddle's varnish.
  4. A few years ago I bought some Chinese bows made of Ipe and they are not bad at all, cheap stuff, I bought them out of curiosity, but they play very well. I recently saw an auction report (which I can't find any more) of a Nickel mounted Pecatte bow which was claimed to be made of Ipe - is it possible that Pecatte experimented with woods at that time? I looked rather ludicrous to me.
  5. WHat about ebony - is this still allowed for finger boards?
  6. Isn't speed of sound always 1300km/h?
  7. What is typically French with this violin? This is a nice instrument. £13,000 is a house number if one can't establish a maker, let alone the country of origin. I would not give much on a certificate by Bromptons. If I wanted to know more I would visit Vatelot for French or otherwise Hiereonymus Koestler.
  8. Have they been cured the traditional way in horse urine?
  9. For soloists newly made instruments are often travel violins one concern there is customs taxes which can become enormous for antique violins and hence require to fill forms. You also can’t have rosewood etc any more. However, good new violins also cost a fair amount of money. If you are looking for something really cheap that sounds and costs only a few hundred I would buy some Chinese on eBay. Some of them do have a reasonably good sound.
  10. Of course, this was a joke. But it would not be worth a lot of repair work. On the other hand I know one man who has learned repair work using such instruments.
  11. For oil varnish, applying it with your fingers many be an option. Cheap and works.
  12. If this wasn't you I would question this method. Don't most 'good' makers cut radially, i.e. from outside, and smooth chissel marks in the end (or leave them as Guarneri did).
  13. Firewood. Get it chopped up and burn it.
  14. I bought out of curiosity some cheap Chinese bows made of Ipe which play astonishingly well. They are looking for an alternative to the Pernambuco which is in short supply. Pecatte has made bows of 'Brazilwood' which are actually pretty good and still highly appreciated.
  15. I take violins below € 500 as potential firewood. In current times firewood has become very expensive.
  16. Has anyone tried carbon fibre for a change?
  17. Good to be able to use stone tools like the Neandertaler.
  18. Sorry to reopen this: I recently got a hold of a Pierre Hel, a late piece of his work. Very symmetrical small corner blocks, bottom rib in two pieces. Linings not let into the corner blocks (as looking from outside, the top has not been taken off). I always assumed Hel father and son would have worked with an inside mold. But this looks like built on the back, at least on a first glance. Is this possible? Happy to send some pictures, but Hel violins must have been seen by many of you. All the signatures, stamps and whatever you expect from Hel are there. It has been seen by experts who have confirmed it is genuine. It is not a Stradivari moderne, but a late instrument (1936). Workmanship is excellent, if not outstanding. Its history lets me assume that I assume that it came from the Walther collection. BTW, its sound is absolutely beautiful, this is of course a matter of taste.
  19. I do string length in cm: 36.5-37, below 38 fpr a 16 1/8 - 16 3/8'' viola. I have seen some violas with a wider body that were shorter (15.5") and prodiced a good sound.
  20. I have tried hundreds of violas and have seen few (but some) below 16" with a good C-String. Between 16 1/8 and 16 3/8 I have seen instruments with a very good sound. The taste of viola sound has of course changed from a nasal accompanying instrument to a want-to-be-cello. If you want the big C-string you need 1) a large enough body and 2) a sufficient rib height or arching (or both). I have not seen any viola that would compete with a cello in the upper registers.
  21. Rosin dissolves in water at higher pH, as is sometimes used for varnish making (Michelman). When I had tree resin on my car I always used the same method. In the UK sugar soap is high pH water. You can also just dissolve soda or some sodium hydroxide. This will almost certainly work and won’t damage the bow vanish. I would try it carefully and apply this to the full length of the hair immediately.
  22. This is a difficult question. How many 300 year old samples have been analysed so far? Probably none beyond a few taken from violins. I don't think anybody knows whether there are intact proteins after 300 years - I personally doubt it. The test could of course be an IR measurement. If the two bands are there it is potentially still existing protein. I would want to see further proof that these bands are indeed protein and not anything else. In principle with the right instrument surface analysis is possible and this is non-invasive. This has been done, see attached. The question is how to interpret such data. Looking for these bands is on the verge of coffee ground reading (from a chemist's point if view). 1-s2.0-S0026265X17306987-main.pdf
  23. Yes and no. You can see those indeed, but these are not unique identifiers. Explained very well in this lecture: https://www.chem.uwec.edu/chem455_s05/pages/Manuals/FTIR_of_proteins.pdf In what I have written I have also not thought much about casein which contains (very simple) proteins - you see two lines. But they do shift when metals are present, there are publications about this. These proteins can probably be rehydrated, there is no tertiary structure, but they are not so well characterised. Main interest in these proteins is that they cause allergies. Casein would just act as a filler on the surface. Or maybe also to close the pores as it sticks. I am not sure whether this is good enough to prevent pigments running up the grain lines. It won't look great to have a clot of casein at the end of f-holes.
  24. You can't detect proteins after a few hundred years because they are gone. Proteins are inherently unstable and can only exist in acqueous medium, can't tolerate heat or cold. What is left when proteins fall apart are many different small molecules, see for example https://chemistry-europe.onlinelibrary.wiley.com/doi/10.1002/cssc.202101487 Proteins are highly complex functional units, usually with very specific activity. But even proteins that would digest lignin (fungal protein such as lignin peroxidase, manganese peroxidase and versatile peroxidase ) will fall apart on dry wood. You need perfect conditions to preserve those. There are other proteins on wood worms that can digest wood components. In an early stage of processing wood such fungal proteins may be important. Once the wood is dry they have no function and cannot be regenerated. If you want to proof the presence of proteins you need MALDI mass spectrometry, available in many larger Chemistry departments. But you will be disappointed.
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