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murrmac

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Posts posted by murrmac

  1. 41 minutes ago, mood2000 said:

    Huh ???

    The guitar in my pic is an archtop (sometimes called  "cello" ) guitar with a cantilevered fretboard ( or "fingerboard" if you prefer) extension.

    All guitars have "heels" , but only archtop guitars have an "overstand". Flat-top guitars have the fretboard/fingerboard glued to the soundboard in almost all cases, with the exception of Dana Bourgeois guitars , and possibly some others, where the extension is secured to the soundboard by concealed bolts.

  2. Reason I asked was because this  Hofner President archtop has arrived in the shop, and the owner wants the glaringly visible previous hack repair of the broken neck rendered as inconspicuous as possible. 

    For the life of me I couldn't  recollect the correct term for "overstand" ... thanks to Vda and everybody else for their contributions.

    oyzDtu.jpg 

  3. 9 minutes ago, martin swan said:

    As VdA points out, the correct term is appui

    :lol:

    Did she point that out? I must have missed that ... and now it's getting complicated,  with two other multilingual terms up for consideration.

    How about I just call it the ""neck gap" ? ....B) 

     

  4. Having a bit of a senior moment ... I have forgotten the technical name by which you refer to the distance between the top of the soundboard and the underside of the fingerboard ... it's something like "offset" or "upstand" or something like that ... a quick Google search didn't help ...  memory refreshment much appreciated ... TIA. 

  5. I was astonished to read that Stradivarius did not employ a mortise construction of any type, simply using a butt joint..

     

    Are any of the Strads which are played today by concert artists still held together with glue and nails, or have they been reworked to a mortise and tenon construction?

  6. Thanks to all responders ... I do get that a "perfectly fitting" joint in a violin neck joint is not the same thing as having the parts mate as tightly as humanly possible, and that glue enters into the equation.

     

    But if the joint were to be made as tight as possible, then would I be correct in thinking that the flare of the neck and the corresponding flare in the mortise would be sufficient to withstand the string tension, at least for a short period ? I mean,  the neck wouldn't suddenly fly off during the tuning process,  would it?

     

    Carl seems to think so,  unequivocally, so does everybody else concur?

  7. Hi All - engineer here - please define "collapse" - are we talking about terminal failure, permanent deformation or reversible deflection.

     

    thanks edi

     

    I did put this question to the poster on the forum to which I referred, (using your quoted post verbatim) but have had no reply.

     

    Whenever i see anybody declaim airily on an internet forum  "I have seen many ...(whatever it might be) " I always feel my BS meter stirring.

     

    In this instance I believe it was calibrated correctly. 

     

    It has however sparked a most interesting discussion on here, thank y'all.

  8. Bit of a weird question, I know, but on another forum somebody claims to have seen  "many" violin tops collapse as a result of the violin not having a soundpost..

     

    My main question is, does this claim sound realistic ? Has any repair person on here witnessed "many" tops collapse as a result of the instrument not having a soundpost? I would have thought it an extremely rare occurrence for a violin to be missing a soundpost in the first place, but hey, I could be wrong.

     

    That leads me on to question #2 which is : if a violin were to have the soundpost removed, and left in that condition, would the top in fact collapse at all, and if it would,  how long would it take  to collapse under string pressure ? Would the pressure alone be sufficient to collapse the top (assuming that that would in fact happen) or would the instrument have to be played extensively minus the soundpost for this to occur?  I am sceptical that any violinist would continue playing an instrument without a soundpost, but maybe stranger things have happened .

  9. . . clamps can actually squeeze to much glue from the joint if to much pressure is applied. 

     

    Ah yes, the notorious "glue-starved joint" ... glue starvation from excessive clamping pressure can only happen when epoxy is the adhesive of choice.

     

    When using other glues, be they protein based, PVA, or polyurethane, it is impossible to cause glue starvation by excessive clamping pressure. If any joint fails due to a paucity of glue when using anything except epoxy, all it means is that insufficient glue was applied in the first place.

  10. A sharp businessman might be able to spend $1.7m on it and make a profit charging people to see the it because it cost $1.7m.  :)  The more it cost the more reliably genuine it's perceived to be...  Knowing Branson and Pigeon Forge, he might make his money back in a week...

     

    A really sharp business man will charge people to see it and to hear it ... 

  11. reviving this slightly zombie-ish thread to paste a recent quote from another  forum 

     

    When I was an apprentice in violin making at Mirecourt at the beginning of the 70's, we were applying a thin coat of gelatine simply mixed in water inside the body. The purpose was slowing the humidity exchange. Not something that could possibly harm the sound. Also the inside of the body had to be at the same level of sanding as the outside, all the angles rounded, etc...

     

    Does anybody do this nowadays ? I wouldn't have thought that the humidity exchange would have been slowed down by much , if at all. 

     

    On the plus side, of course, the gelatine wash would have been totally compatible with any subsequent repair which might have been required.

  12.  His strings go black within half hour of playing and completely dead after one gig.

     

    I can still recall vividly the horror and disbelief i experienced years ago when I lent my (freshly re-strung) guitar to an acquaintance to play one  song, and when he handed it back, the two plain treble strings were totally black for the first few inches, and sounded absolutely  dead.  

  13. Remember that this stuff has been hanging out of the back end of a horse in all weathers for several years, used as a fly swat , pissed on , rolled in the mud , scratched on the fence, brushed with a curry comb and a million other things.

     

     

    NITPICK ALERT:(and there is probably a joke there somewhere ...): a curry comb is not ( or should not be) used for combing the tail of a horse ... the implement for this purpose is called a dandy brush. Apologies for all the irrelevant equine pedantry..,

  14. I can only speak for the thoroughbred racing industry, in which I was involved  for many enjoyable years. These terms would also be the same for the thoroughbred industry in the US.

     

    As I said, the term "stallion" is reserved, in thoroughbred breeding circles, for male horses who perform stud duties.  There have in fact been several instances in racing of entire horses who raced until an advanced age ... one such famous instance was a horse called Pheidippides, who was owned by Phil Bull, the legendary founder of the international racing publication "Timeform". At no point in his racing career, however, which lasted until he was 16 years old, was Pheidippides ever referred to by any knowledgeable scribe as a "stallion". He never  did become a stallion, even when his racing career was over. 

     

    I am not disputing that in non-racing circles, the term "stallion" may well be carelessly applied to any full horse.. I am simply pointing out that it is a misnomer in the majority of cases, irrespective of how well-entrenched such colloquial usage may have become. 

  15. Just FTR, I would have to take issue with the terminology of "stallion" hair.

     

    At least in thoroughbred racing circles, the term "stallion" is reserved for an ungelded (or "entire") horse, whose achievements on the track have earned him a future of uxorious bliss. A horse who has not yet attained such rank but still has his tackle intact  is referred to as a "colt"  until he reaches the age of 5, when (if still entire) he becomes simply a "horse" . If he has his tackle removed prior to that then he is a "gelding". A mare btw  does not become a mare until the age of 5.. Prior to that she is a "filly".

     

    It may well be that the horses in Outer  Mongolia, where I am led to believe that the best hair comes from, do go through their lives without the unwanted attentions of a veterinary surgeon equipped with a sharp knife, and that they breed promiscuously, which would indeed mean that there are many "stallions" there, but I suspect that such is not in fact the case, and that the horses are  gelded as a matter of course, excepting  those reserved for breeding purposes. My suspicion is that the hair which is supplied for use in violin bows does in fact come almost exclusively from geldings, who would be more tractable and amenable to such treatment than a stallion would be. 

     

    It has to be admitted however that having  your bow (allegedly)  rehaired with "stallion" hair does carry a certain element of macho charisma which would be absent were one to admit  that the bow had been rehaired with "gelding" hair...

  16. I am planning to graft a pernambuco (or other wood) head onto the end of the bamboo stick using a Spanish luthier's scarf joint, which I have used in the past for putting angled heads on guitar necks.  It's very strong.  

    attachicon.gifScarf.JPG

    Just FTR, a much preferred scarf joint is obtained by the neck running through on top of the headstock,. Doing it like that enables you to disguise the joint completely, wheres the method in the picture is always going to show a somewhat unsightly joint at the top of the neck.

  17. MaestronetLurker, this is a topical heal graft. The piece you seem to think is a cheek addition is a solid piece of wood with a tendon in the center that extends into the neck heal. Mortis and tendon joint and the piece added to the bottom is to correct over stand and where the neck was released from the button.

     

    Would I be correct in thinking that in order to glue a tendon into the mortis in this situation,  it would be de rigueur to use animal glue ?

  18. One of my favorites when perusing the auction sites, and I am guessing it's probably correct usage, is "hammered dulcimer", probably made by a hammered dulcimer builder, uh, excuse me, maker.

     

    "Hammered dulcimer" is indeed correct usage, so named to distinguish it from a "lap dulcimer" also called "mountain dulcimer" which is a radically different instrument.

     

    Whether the makers are hammered, I have no idea ... the players IME sometimes look as though they are ...

     

     

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