Mark Norfleet

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About Mark Norfleet

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  1. I had a torn retina a year or so ago. It happened spontaneously and all of a sudden I had a lava lamp in my eye. My vision isn't quite what it was in that eye at this point, but that will likely be mostly corrected when I have the lens replaced. The steroid I had to use in that eye to reduce swelling/inflammation after surgery increases the rate of cataract formation. I was told a few months to a few years, but it's fine at this point. Why the tendency to make things too red seems to have gone away or be greatly diminished I have no idea. Perhaps I'm just finally becoming wise in my advancing years. I hope to remember to ask my surgeon about it when I see him next for a follow up.
  2. That person seems to have taken some pity on me since eye surgery a year ago. My touch up no longer gets too red overnight, but he (or she) still sometimes messes with my clamps.
  3. And just maybe it's not the bass bar at all. There are a number of things that can be done with adjustment that can improve the lower register of an instrument, but the instrument has to be physically sound to begin with. Purfling openings, loose peg ornaments that cannot even be heard as buzzes or seams that are only open on the inside, especially in the upper and lower block areas of the top, can really mess with the sound of an instrument. People are responding to the question you asked, but there might be other questions that should be answered first. Best of luck with it!
  4. I hope those brass weights have holes in them! If not, they scare me a bit...
  5. An excellent point! I certainly react to it, and also to rosewood.
  6. This is pretty common in my experience. I find though that if the instrument is structurally sound, I can always improve the available dynamic range, clarity and response through adjustment.
  7. I’ve not seen wear, but simply an impression from the felt as Don mentioned. If I’m at all concerned about the varnish being soft, I cover the felt with clear plastic tape. The wax paper mentioned above will work too. If the varnish is really soft, it will still take an impression, but at least it won’t have the texture of the felt.
  8. In addition to the above suggestions of tapping on the small end of the pegs, I find it useful to try to turn the peg at the same time. If it doesn’t move with those methods or you’re uncomfortable with them and cannot wait, you can of course cut the shafts of the pegs and drill a hole through the center of what remains. That and fitting new pegs is probably preferable to cracking the pegbox.
  9. There are of course so many things to contemplate here Nathan.. I look forward to seeing if this discussion goes on for years, or fizzles...
  10. I guess I should seek out better training. Which bridge blanks do you use, or do you make your own?
  11. This is my version. They always come with written and verbal instructions and provide a means for quite accurate positioning of the top of the bridge when properly used. When a player returns for sound adjustment and clearly hasn’t been paying enough attention to their bridge, I have them play before and after I re-position the top of the bridge. Usually that alone improves the sound etc. by at least 50% of what I’ll achieve with ensuing tweaks.
  12. I too have been making idiot sticks for decades for any instrument on which I do major sound adjusting work. In addition to maintaining the bridge, it also provides the player a way to have the sound and playing qualities of their instrument be much more consistent, provided they use it...
  13. It doesn’t appear to be available any longer. While poking around I did see one reference to it being fish glue.