Mark Norfleet

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About Mark Norfleet

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  1. Cool! I’ll be in the area over the next few days and will be in touch.
  2. I don't know for sure, but I think it was Eric who was one of the prime forces behind the formation of the VSA and the competitions. Albert Mell was also very active in the early days and for many years. Phill Kass probably knows more than I about those years. Curiously, I do remember Mary talking about plans to put in an elevator when we were there. I also remember Eric being delighted with having a van that had cruise control and crossing his right leg over his left while driving down the expressway. I was more than a bit concerned...
  3. It was in the fall of 1976. I was on the way to the competition in Philadelphia with Eric Chapman and a van full of instruments that had been shipped to Eric's house for the competition. We stopped at the shop in Boiling Springs for Ed to look over all the instruments and put together the ones that had been shipped with the bridge down etc. I still cringe a bit at him doing post adjustments on instruments that had been shipped set up. I thought he should have left them alone. We arrived in the evening and I have a vague memory of a few folks being in the shop besides Ed, but have no idea who they might have been. I do not recall at this point if we left the next morning for Philly or stayed until the one after. I was Eric's prime go-fer during the competition and convention. I was also at the first competition the year before in Ypsilanti, which if I remember correctly was only for violas (Eric's instrument). David Weibe won the first prize I believe and William Primrose played a token few notes on his winning instrument.
  4. I stayed there for a night or two and do definitely recall a bit of strange unpleasantness from the owners, but not the house itself. I don't think I was ever very temped to go back and work with Ed. Fortunately I was offered an opportunity to work with David Burgess shortly after. That was the perfect opportunity at just the right time for me.
  5. That’s very interesting. I might have try something different after using the same knife for decades.
  6. 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.
  7. 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.
  8. 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!
  9. I hope those brass weights have holes in them! If not, they scare me a bit...
  10. An excellent point! I certainly react to it, and also to rosewood.
  11. 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.
  12. 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.
  13. 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.
  14. 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...