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  1. I have usually done/seen about four turns around of black before adding the lighter colour. That would work out to just under half of what is in your photo, and would look "normal" from what I have encountered. Another thing to consider is that although the whalebone is significantly thicker than silver or silk, usually you want to put a layer or two of something over the whalebone under the thumb leather such as masking/painter's tape or newspaper, so the player does not see and feel the ripples/valleys of the whalebone. Otherwise, it looks great. I haven't done one in a while,
  2. Thanks again. The first two are exactly what I was describing, and what I have seen before. The majority of the first type I have seen on German bass bows, where they were added for a bit of weight, and often to cover the transition from round to octagonal at the frog end, which I know some players and makers alike do not like the look of. I personally prefer German bows without a winding (as a player) and think that transition can be quite nice depending on the execution of it. As you mentioned, the second I have seen primarily on student bows. It can be done quite quickly, is ve
  3. Brad, you can also "cheat" and put a piece of double sided tape under there, or add a little bit of powdered rosin to increase the friction as well. I am curious about the leather you mentioned. I have seen solid leather windings that are either essentially a very long thumb leather on it's own, or that with a thumb leather on top, but never something using leather in a similar fashion to the whale bone. Suede side in or out? Do you have any photos of those? What does it feel like to the player? I'm imagining it being fairly "grippy" under the first finger, which some players wou
  4. I've encountered a few bows where the frog has a fair amount of wobble. If I give the eyelet a half turn either it becomes unacceptably tight, or it won't catch at all. It seems like 1/4 turn would be the perfect amount, but obviously that's not a viable option. Does anyone have any tips/tricks/suggestions?
  5. The internet has changed bow making right from the acquisition of knowledge and raw materials, all the way to selling the bow. A lot of our information comes from the internet now, and the internet is often where we start our search even if we intend to retrieve that information elsewhere. Forums like this allow us to connect with other craftspeople, makers, suppliers, shops, auctions, performers, professional associations, etc. all have websites, and we start there. Because bows are such a visual and tactile tool, we gravitate a lot to photos online. Shops often have photos of at least
  6. I have been working on student, school, and non-profit bows for a few years. Communication is key. Your contact may be a string player, it may be a wind player, it may be someone who is not a musician, and/or they may have multiple people they need to coordinate repairs and repair budgets with who fall into any of those categories. Being able to explain what you can do for them in terms that everyone will understand is important. Including a brief description of each repair as well as common reasons for those repairs along with my price list was a large part of that. What you are
  7. After give or take 12 hours soaking in acetone, trying with my thumb, duct tape, and again super gluing a piece of wood to the slide and using a hammer, the slide did eventually come out. In two pieces. It appears that the mating surfaces between the ebony and the pearl were not particularly flat, so during the process of getting it out the shell cracked in what looks like some sort of router/file created crevice. I am going to give Brad's suggested ebony only slide a go as I haven't made one of those in a while. It should take far less time and far less material cost to make one,
  8. Thank you everyone. I tend not to have nail polish remover at home as I tend not to have nail polish, but I will give acetone a try. It is also very good to know that my workshop could use more pizza, wine, and naps from some highly respected members of the community. Brad, by "the bow isn't worth breaking the slide and making a new one" I do mean a new pearl slide. I quite enjoy that look of an ebony slide in the event that you find a piece of ebony that nicely matches the frog, which I know is not critical for a student bow where function is a more important factor. I was hoping I wou
  9. I have been rehairing a fair number of student bows lately, and a common theme seems to be a whole lot of super glue in places it really shouldn't be. I have encountered a few pearl slides that have been glued in. I don't think the slides have been glued in intentionally, but more often than not it has been frog plugs that are glued in and the excess has resulted in the pearl being stuck as well. Regardless to how/why, I am in the situation of trying to get them out. I have had some luck with with the double sided tape/duct tape trick, running some alcohol around the edge of the slide,
  10. As far as how you go about measuring the balance point, there seem to be two main camps. The one that I am more familiar with is to measure from the end of wood at the button end, to where the bow balances, with the frog in the forward position. That measurement in North America tends to be in inches even though most other measurements in bow making tend to be metric, because players who have a desired balance point in mind are most likely to know their number in inches. The reason for the frog being in the forward position is that it will be the most consistent/repeatable placement of the fro
  11. What is the "currently relatively light grip" on your bow? Typically silk, tinsel, whalebone, thin silver, thicker silver, gold tends to be the progression from lightest to heaviest, although there are some variations there as well. It is quite common for silver to end under the front of the leather. On many student bows it is often a cost cutting measure, but on better bows that tends to be an intentional decision for the sake of weight and balance. Lead can be added under the thumb leather in just about every case, the exception being whalebone as the thumb leather becomes almost comically l
  12. The mass produced bow business is being disrupted by Chinese bows. You can get a Chinese bow for $50, and in some cases even less. Typically it isn't the greatest bow, but it has hair on it and can make a sound. For $100 you can get something better than that, and when you get a little bit deeper in, you start to see some ok stuff. Some shops have their own line of shop bows that are now Chinese bows. They often have a German or French sounding name stamped on them because that typically means they sell at a price that favours the shop a little more, but when you ask for some more information
  13. I am not seeing anything by Matt that seems to fit. Eric's bows look nice, but doesn't seem to be what I'm thinking of either. It could have been something from the ICPI book, but I don't think it was. What I remember was a comparison of a small sample of highly regarded French bows, and the choices that are made. Things like the angle at which the throat and the faceplate meet, and what changing that angle does to the look of a head. One example featured a rather flat faceplate compared to a very curved one, and then how that relates to the rest of the head. When coming around the nose and ba
  14. A year or more ago I remember finding an article about bow head design. It very well could have been in two parts and also discussed frogs and/or buttons, but the head part is what is sticking with me. The article compared two or three well known makers one of which was Lamy, with the original design of a modern maker. It discussed the choices that can be made in designing a head, with some photos of the bows in question that allowed you to really see the differences that can be made with the curve of a throat, nose, and footprint, as well as some other decisions. I believe it was a .pdf linke
  15. The roadblock for most people with something of this nature is business model: how do we make it make money? I am not suggesting a (North) American violin/bow factory, shop instruments without an individual name attached to them, or some sort of assembly line. The Stentor violin video that went around a while ago where everything was handmade in an assembly line but that happened to be in China is not the model I had in mind. While I think working in that kind of environment could be beneficial to a young maker in a lot of ways, I do not see that being a business model that works in North Amer
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