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Ryan Hayes

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Posts posted by Ryan Hayes

  1. Ryan, he came in and found me pulling the neck UP on a Vuillaume, and spooked me. I found the fiddle in a cardboard box under a shelf in a closet, with some broken bows, and thought the varnish was pretty nice, for a fake copy of a Vuillaume. He'd asked for a 4-8k fiddle to be set up, so I picked the box fiddle. The extension was down below 24 mm, so I happily removed the top half of the table, and was pulling the neck back to slip a shim into the mortice when he came into the workshop. He claimed he had been looking for his Vuillaume for ten years. :D

    Woah! Did he buy you lunch after that?

  2. Peter was an amazing dude. He was tough and sweet and hilarious. He hired and fired me twice. He brought me a Stradivari once at the bench, put his feet up next to the fiddle at my station, folded his big old hands onto his apron and said, "Okay. Let's see you fit a soundpost, instead of talking." I have rarely been more nervous in my life. Rest in Peace, Big P.

    Didn't he do the same thing, putting his feet up on the bench next to you when you were removing a neck from a Vuillaume? The other night I was reading a old VSA journal that had an interview with Peter Prier. He told his story about coming to America to work at a shop in Salt Lake City. He said he first landed in New York City when his friend Hans Nebel, who he knew from violin making school, took him to see the Wurlitzer shop. After meeting Sacconi, Sacconi offered him a job, but he declined because the shop in Salt Lake City had paid his way to the United States. I like to wonder where violin making in the US would be if he had taken the job at the Wurltzer shop.

  3. Ryan (nice to see you on MN, didn't you take a job in San Diego after Oberlin a few  years ago??) Don't completely get the tape thing as I would think you would need to do a little "sliding" into place some of those pieces.  I, also, would like to know more about  the "gap" in your video as the most interesting to me is the "fill" and subsequent touchup.  Nice job.  Glad to see your one of "jerry's kids" now.  Looks like your touchup was done with a decent amount of opaque coloring and then coloring to match.   jeff


    The tape was extremely helpful. It helped keep the form in place, and it kept some of the more fragile pieces from falling apart and off of the form. I did need things to slide into place and especially on the outer edges of the hole, but with some swearing and persistent persuasion I was able to put them all into place. The adhesive on the double sided tape wasn't all that strong, and allowed some leeway. The opacity of the color comes from earth tone pigments that were dusted on with a make up brush, and then sprayed over with shellac from an airbrush.

  4. I know you told me you glued everything at once, but did you have trouble with the double sided tape being a mess later? I assume the cork had packing tape or something like that covering it to keep things from sticking to it?

    The cork was attached to the counter form with packing tape on the outside of the form instead of being glued to the conterform. I had to be very careful when I taped it down to avoid creating any wrinkles in the tape. Then I used double sided tape that adhered to the packing tape.

    When the time came to remove the counter form and the tape I cut away the packing tape from the counter form with a knife, and used mineral spirits to loosen the adhesive from the tape while I gently pulled it off of the rib.

  5. What is the little bits of wood glued against? In other words, what is on the inside of the cello rib to reinforce it?


    Great work.

    Kallie, that is a small wooden form with cork taped to it. The pieces were held into place with double sided tape that was attached to the form.

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