• Content Count

  • Joined

  • Last visited

1 Follower

About HoGo

  • Rank

Profile Information

  • Gender
    Not Telling
  • Location

Recent Profile Visitors

1648 profile views
  1. Thanks for clarification. For me, those alphabets look all the same :-)
  2. They write this on their web... I wonder what they consider mature, but in rainforest many trees grow quite fast and you can get suitable sizes for thin long bowsticks in few decades.
  3. Quite possibly the pics were taken right at the gate of the chinese workshop that produced these fakes - notice the chinese symbols all around the place....
  4. HoGo

    Violin ID #7

    I wonder what kind of restoration would cost 2-3K in US and in EU? I tend to think that would involve pretty huge overhaul of the whole instrument not just some cracks fixing and small retouch. What is the common hourly rate of a good violin restorer in US or in EU? When a car gets damaged the insurence companies have pretty straightforward rules for what is repairable and what is for write off. I just had a large repair done on my car I recently bought and the final bill to insurance company was pretty much 1/3 of the car retail with work done by authorised service which is in line with
  5. Taylors shims cover the full surfaces AFAIK. But they are cnc/laser machined. They use one under heel and another under fingerboard extension (that bolts down into recess machined into top surface). I guess you want the heel button stay in the same place WRT back so you could only adjust the neck to higher angle adding tapered shim (would have to be glued to heel as it would end paper thin on one end) or just one "half" shim in the upper part (a'la NY neck set - sorry Jacob ). Tightening the screw would create firm contact at bottom near heel and at top via the shim. I don't think the ver
  6. Yes, mostly it's like that but some makers started using the two-way rods installed upside-down with nut right under fingerboard and that makes them work in opposite direction. Some compensate by cutting reverse threads. I would guess some may be there right from factory when the pocket was screwed to start with. The electric guitar bridges allow quite a range of adjustment (without any loss of tone) so normally you don't need that. Taylor guitars use bolt on necks with bolts from inside of body and use precision gauged shims for perfect geometry. You could have the bolt insi
  7. I prefer "bevel grinding" for my gouges. I start at lower angle with coarse grits and finish at slightly higher angle with finest grit sharpening just tiny microbevel to my desired angle. The wood doesn't care much about the rest of the blade behind the very edge. Hollow grinding is good for freehand sharpening when the two higher spots of the grind help you keep the angle and reduce amount of material removed with finer grits. With approach like this above you can do rough sharpening using the pin in lower position then your last strokes of final sharpening stages.
  8. My tonewood usually comes from forest :-)
  9. I know violin world is quite separate from guitar/ mandolin but this torture actually does work. In many cases the separations were introduced because instrument had to be opened for repair and the released rim tends to do that right after the seam pops open. So the whole tension was there all the time before the seam opened so if you can tame it and get it glued back again it will continue right where it was before the repair. Ribs protruding from under the plate edges are unbelievably ugly and shortening ribs is mission impossible on these instruments. One must remember that gluing surface o
  10. Guitar and mandolin restorers have to deal with that commonly. The ribs of mandolin are often 2.3-2.5mm thick Here's how Frank Ford does it. http://frets.com/FretsPages/Luthier/Technique/Structural/CompressionTest/sidecomptest.html
  11. There are spots on violin where you need to be precise. The edgework or purfling doesn't have to be perfect, but the basic measurements of geometry must be within very narrow range - you can find those on many sites suggested here and other htreads. Without very good model for you to follow you will be shooting in the dark. I've ept my first instrument (it's got 20 years now) and play it regularly when I get into my workshop. You should do that too just to see your progress with your next instruments. And spend a lot of time training your eyes. Your hands will (hopefully) follow them. And if y
  12. Stop feeding the troll, please. Most folks here are interested in real violins especially modelled after the great italians and Mr. reguz stubbornly talks anbout his theoretical model and how it is great. What I do not see is any direct proven connection between his model and real violins? His model is derived from one of many esotheric geometric constructions of violin and I haven't seen any connection to real violins. Even when I google for his real name I find virtually nothing more than what is contained in his posts above. He doesn't appear to have built a violin or any instrument. I
  13. I think this answers all questions: https://fixitwithshading.com/csvm-construction-log/
  14. After reading reguz's replies I came to conclusion there is no help to him... He's mixing up things and concepts of theory with reality. Again to compare it to cars it's like yelling at car mechanic laying under car that he cannot repair the car this way as his view of the car is all wrong because normal folks always stand upright looking at a car... The master thesisi itself is probably OK though it lacks connection to real violins because they started with model that doesn't reflect real violins. Now Mr. reguz yells at anyone that their real violins don't deform the right way becau
  15. ROFL!!!!!!! So the whole study stands on water... I wonder why would someone use strange model of violin instead of classic time-proven design. How can you generalize your output to standard violins when you didn't start with such. Reminds me of our local woodworking/acoustics dept on Technical University. They also published several theses and papers that were based upon sources from local "violin makers" - each of them has his own theories to give - all the common tales from specially treated wood to magic varnish but none of them produced any master grade instrument. The papers