Andreas Preuss

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About Andreas Preuss

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  1. Spontaneously this reminds me of Öhberg, a violin maker who worked in Sweden. I think he was the guy who made those strange looking f holes. Need to confirm this tomorrow in my books.
  2. I think the tonal differences come from the relation of leg length to upper part of the bridge. (Regardless if a Belgian or French bridge is used.) Therefore I think a comparison of violin fingerboard projection and cello fingerboard projection on its effect on sound is problematic. Often bridges on cellos with a low fingerboard projection seem to have higher chances of having a subdued sound. (Exceptions seen) But there are other factors as well like tailpiece and tailgut material, bridge thickness.
  3. I definitely don't have your experience in making violas but I found often that recipes which work on violins fail on violas. My general rule is that violins must be adjusted a sort of tighter whereas violas like a softer adjustment. I apply this to neck angle as well.
  4. Well, looks like that the luthier in question didn't accept a deposit from the beginning to have no legal obligation to take the order. So just in terms of law, he didn't breach any contract. BUT I assume that the luthier didn't tell the customer this at the time of order. (BAD COMMUNICATION) For customer care this is just unacceptable if there was not even any prior notice of dropping the customer from the waiting list. (BAD COMMUNICATION) I assume that the customer didn't inform the luthier that he is planning to sell his instrument in anticipation for the new one. Naive considering that no downpayment was accepted. (BAD COMMUNICATION) The whole thing looks like a big ego luthier is dropping off a 'minor' client to boost his reputation. The moral of the story is that verbal promises aren't worth anything for this luthier AND miscommunication on both sides. (my guess) Making the case public will only warn future customers before placing an order but will serve the same time the big ego of the luthier. Those customers remaining on the waiting list will feel maybe flattered to have been 'selected' by the big ego luthier.
  5. A flat sandpapaper board is very useful for this. It never tears of the grain and makes a smooth surface which can be easily polished. For the length of the fingerboard I adjust it from the upper end if necessary.
  6. To answer the OPs question I would look into artificially made resins. But maybe that's ethically even worse.
  7. I can't see any reason why a violin maker in the past would have chosen as a correction a thickness pattern which contradicts general ideas on thicknessing at that time. (edge thicker than center)
  8. The myford looks a bit too big anyway. Now that I looked up on the net the pictures of the unimat I remember that we used in Tokyo Violin Making School. Was a pretty handy thing. It seems not to be manufactured any longer, or not?
  9. If I wait until a bow maker retires in Japan it's a pretty long wait... As much as I love old tools I need now a quick and easy solution and this means that if I need spare parts that I don't have to spend hours to find them. Maybe in a few years...
  10. Just looked into their website. Seems to be pretty solid stuff. Unfortunately they don't have an authorized dealer in Japan. But that's not a major issue. Which model does he use?
  11. Looking for a not too big lathe mostly for bow repairs. Any recommendations from bow makers? What can be done with the recommended lathe? (I was looking at a Proxin mini lathe because it is not too difficult to find spare parts in Japan.)
  12. If the player doesn't keep the bridge straight, it will warp, no matter how well feet are adjusted or how it is cut. It's just a question of mechanical forces. (Or a cello bridge would need to be 20mm thick at the feet and something like 7mm thick at the top) Anyway bridges warping again after straightening were a good reason for me to erase the 'straighten bridge' item from my repair menu. If I can't give a warranty for at least a year it's not worth doing it. (Just my personal philosophy) To prevent bending from the beginning as good as possible I make sure that 1. the 'feet resistance' in North South direction can be felt clearly when cutting a bridge and that 2. the notches are super 'greased' so that strings can't tear the upper portion of the bridge to one direction too easily. For customers I cut a cardboard fitted to the back side of the bridge so that the user can measure when the bridge starts to lean to one side even a fraction of a millimeter. I show how to move it back to 'zero position' and tell the customer to stop by if he/she is scared to do it. One of the few things I do for free (only on my own bridges) I wished music schools for professionals would teach at least some fundamental of violin maintenance including bridge maintenance. Otherwise it seems that bridge material is not what it has been in the past, maybe caused by climate changes. Worldwide we can see as well a tendency going to slimmer bridges. Both contributing to the fact that we see more often warped bridges. (Besides, I had long time ago a cellist who asked me to cut a bridge with both sides completely flat. This bridge would have warped within weeks but didn't because he was very meticulous to keep it straight. He was the type of guy who would dust off any dirt on his car even after a short drive)
  13. Just found this recently. I think it is worth mentioning it here, though it is n French: its a database on varnish recipes and the link below connects to lust of recorded spirit varnish recipes. https://vernix.philharmoniedeparis.fr/vernix/infodoc/Ged/Search.aspx?searchExpression=idesia[thesaurus%3aIFD_VERNIX%2c+form%3a+0%2cautopostage%3a-1]%3d"LEXICON_00000020"&searchExpressionLabel=Vernis+%u00e0+l'alcool
  14. Happy new year. In Tokyo everyone is in the Olympic mood. Prosperoys new year to everyone!