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Everything posted by donbarzino

  1. If the string binds at the nut while it is being tightened the tension is greatly increased between the nut and the peg and the string would tend to break at the weakest point between them. If the nut doesn't flow back smoothly towards the peg but rather puts a kink in the string where it leaves the nut, then I suppose it would break at the nut.
  2. Usually, when strings break between the nut and peg it is because of the string binding in the nut groove.
  3. I have many nice old violins which are missing their necks. I bought a large lot of them from an old music store years ago.
  4. I am very sorry, David, and I have edited my post to now include you.
  5. I was interested in playing violin and bought an inexpensive one from an ad in the newspaper. It needed some work and when I took it to a music store they told me it was a piece of junk and not worth the cost of repairs needed. I borrowed the Heron Allen book from the library, read it and repaired my violin. When I brought my violin back to the music store to buy strings they looked at my work and offered me a job. I learned a lot working there part time but my other part time job as a motorcycle mechanic paid a much higher wage. I kept both jobs through college working at several different music stores and motorcycle shops and ended up owning a Harley repair shop. Unfortunately my employees joined a large and violent motorcycle gang and my shop became a hangout featuring daily fights, shootings, ect . After repeatedly fearing for my life, I realized that violinists are seldom tough guys, except for David Burgess, with no violin gang activities at all and this pushed me to sell my shop and go into violin repair.
  6. I believe that higher ribs are more flexible, not as a beam, but when flexed crosswise. Only the lowest modes seem to try to bend the whole rib set as a beam. Most higher modes seem to flex the ribs crosswise and in limited areas.
  7. donbarzino

    Nails position

    The problem with both nails and screws in this application is that you are going into the end grain of the neck which presents less resistance to splitting and withdrawl .
  8. I would look at those marks as an asset for they reveal the edges of your cut and any nearby high spots as you work.
  9. Michael Darnton has written an excellent essay on this subject.
  10. The plates being tested are removed from the rest of the violin and placed upside down with the sand placed on the inside so if anything it tends to accumulate in the center.
  11. I can understand the desirability of the part of the plane sole in front of the blade being flat but once the blade, projecting below the sole, has taken its cut the stock upon which the rear portion of the sole will rest is reduced and no longer aligned with the yet to be planed portion of the stock ahead of the plane and blade. So the plane as it works is riding on a bi-level surface and a flat sole will not match this, rather the most rearward part of the plane will be the only part of the plane sole aft of the blade to touch the stock being planed.
  12. The glue joint between the bass bar and the top plate has probably partially let go and just gluing it back could be the easiest way to fix it.
  13. I had had success in reforming sound post bumps on double bass tops by moving the sound post forward so it pushes up directly under the spot where the bridge foot would normally sit and then moving the bridge back so its right foot presses down on the sound post bump and then tightening the strings. It does take some time for things to even out, like weeks or months, but the instrument is playable in this condition while it is being reformed, albeit with a longer string length. Carefully warming the area with a heat gun can help speed the process up, just be careful, watching the varnish for overheating.
  14. Years ago, I made several instruments following Peluzzi's principles. It was a lot of tedious extra work and the only difference I observed in the sound was an undesirable metallic ringing after each note that interfered with fast playing.
  15. This style is used for taller saddles to prevent them from torquing forward in response to the pressure of the tail gut. When the saddle tries to twist forward the lower extension presses against the lower part of the tail gut , between the saddle and end pin and prevents any rotation of the saddle.
  16. What a clever piece of work ! Good for you ! I would say it does need a bass bar under the bass foot of the bridge as the resulting difference in response between the two sides of the bridge is a fundamental feature of bowed string instruments. However, between your two cross bars you are left very little room for much of a bass bar. I would still put one in though and although softwood is the traditional wood for bass bars you might as well make yours of a hardwood since weight is an important part of the bass bar and yours is smaller than usual. Just make sure there is some clearance between the ends of the bass bar and those cross braces so the bar can vibrate freely.
  17. Sounds like the violin world has become quite materialist, excessively favoring 'lily white' woods like spruce and maple over other equally deserving 'woods of color'. We can anticipate the social justice warrior brigade soon promoting an affirmative action program with mandatory quotas in both sales and manufacturing for instruments made of underused 'woods of color' like cedar and walnut.
  18. You may have lucked into a very rare and special situation where the resonant frequency of the cello's mass upon the end pin acting as a spring matches the frequency of your vibrato.
  19. They don't look that badly damaged in the photo. The geared mechanisms are well protected inside the housings. I would first try re-engaging the pin into the lever slot. I've had similar mishaps with mine and always managed to get them working again.
  20. I leave a number of cellos and basses in an unheated space in a very cold climate every winter and have never had any problems. I believe the most important thing is slowing the rate of change of temperature and humidity with insulation and low air infiltration.
  21. Your problem could be runout , the wood being cut such that the long grain is not parallel to the surface of the billet. This is why split billets are preferred.
  22. I just ran across a 2004 article in the Strad about tailpieces influence on tone which cites a 2003 Catgut study which found ' Certain woods (especially snakewood, pernambuco, African blackwood and boxwood) were judged to cause an increase in volume and positive changes in the clarity and "edginess" of the sound. Other materials (rosewood, ebony and composite) seem to correspond to hollow, soft, unfocused and unmatched sounds across strings.'
  23. I have had bass customers who insisted that increasing the string spacing greatly improved their sound. Compared to the violin, bass and cello do have a rather high bridge and narrow string spacing.
  24. Technically, moving only one end of the sound post while leaving the opposite end in place cocks the sound post and ruins its fit to the top and back plates. However if the post was not correctly fit in the first place any change could be an improvement. I believe the fit of the north edge sound post to the top is most important as this defines the lever arm distance between the bridge foot and the post as fulcrum. Moving the top end of the post back away from the bridge insures that the edge of the post closest to the back of the bridge foot is making good firm contact and this alone an often cause an improvement in playing and tonal qualities.