Andreas Preuss

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About Andreas Preuss

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    humble craftsman

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  1. Maybe I got as confused as you when trying to figure out what powder is in the bag. Some manufacturers seem to use abbreviations for this awfully long chemical term. Maybe the stuff you bought in the first place is the same product and that's why it works. But thanks for the reminder. In case I can't use it for glue it gives me a reason to go to the gym (that's quite something for someone who never put his foot into a gym.)
  2. Tried to find the stuff on Amazon but found only tablets or with additives. Would you mind to give me a product reference? Otherwise it is in Japan sold in chemical lab stores for 10 times the price.
  3. The question aside if makers of the most thought after violins used templates or not we should have a clear concept of what the purpose of the templates is. If the only goal is to replicate exactly one and the same arching I would say it is easier to CNC the archings by programming the design.
  4. Well, if top AND bottom block are a kind of entirely loose there is certainly something wrong. I am not saying it should not be glued, just leave the center area unglued to make operations like raise pitch easier and less damaging to the instrument.
  5. This leverage is still done by the portions of top block glued to the top right and left to the fingerboard. in any case I have to add, if the top block is very narrow, o would certainly glue it more to the inside.
  6. So far the experiment showed over the past two years on this cheap instrument no complaint. Otherwise we should be reminded that an opening at the seams of the same length (3cm) often stays unnoticed for longer times BECAUSE it doesn't buzz.
  7. 2 years ago I had a commercial violin coming in the shop which needed a raise pitch. Opening the upper bouts of the body turned out to be a nightmare because instead of animal glue some synthetic very resistant bond was used in the factory. When I glued the top back on the edge this made me think, do we really need glue on the top block in the area which is under the fingerboard? At times it can be very hard to get an opening knife through this area and then no matter how patiently you try to do it the surface looks 'scattered' after opening. So I didn't apply glue on the cheap violin I the red zone. When it came back last week for a minor readjustment of the pitch, I could slice it open in 5 minutes put a shaving at the neck heel and close it again, all in less than 30 minutes, mostly because I didn't have to work the opening blade through the entire surface of the top block. Do we really need glue there?
  8. Instead of 'theory' id say approach. And the competition viola confirms definitely my approach.
  9. Here again, we just can blend cinnabar into our varnish composition or ask ourselves why it was blended into the varnish. I'd say that it was used as a drying agent so the color doesn't matter so much.
  10. I guess every maker has his/her own preferences. My take on that is, if I am going to make a copy, it should like a truthful copy starting from the wood selection. If I would make my own model instrument, that would be a completely different story. Most likely I'd go for a full varnish but make sure that the surface texture of the wood comes nicely out, so that it doesn't look like a machine made thing.
  11. I wouldn't call this antiqueing. the varnish is just lightened up in some areas.
  12. Plus some wood technology, wood selection and maybe treatment. You could add as well that their general concept was based on relative measures instead of absolute measures we are using today.
  13. Well, this was Charles Beare at his peak in the violin business and I guess he said that too because he didn't want to be seen as the all-knowing super expert.
  14. Hmm, seems that he got tired of going into details. Reminds almost of some French makers.