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Everything posted by Emilg

  1. I see you have a Barbé in your shop right now.. i can understand the 5500 pounds now if it actually turns out to be a real Barbé. Anyway, someone (or two) will probably have been to the viewing...
  2. Thanks Martin, 52.2g is indeed light, and even with a new thumbleather it would still be only 54g maybe. Who do you suspect might be the maker?
  3. Hi, i was keeping an eye on some silver mounted violin bows at the Amati Affordable auction, which ended today. To my surprise this one got to 5500 pounds / 6450 euro / 7600 dollar https://app.amati.com/en/auction/1080-amati-affordable-28th-july/238-a-silver-mounted-violin-bow-unstamped I would not call this so affordable so it may be something more special, any ideas what it could be? It says unstamped but there seems to be a worn off stamp, quite unreadable.
  4. There's a huge Paypal button on the checkout page
  5. Ok, i understand now why you get confused so easily
  6. OP can either mean original post (text) or original poster (person)
  7. Hi John, i also ordered your book last year, it's very good and practical. Thanks for the extra 55 hints!
  8. true, i think you also tried the formula/spreadsheet on platetuning.org for predicting B1's and found it did not work very well. However, somehow B1- is affected bij the top and B1+ by the back wasn't it? (or v.v., i always forget) I think (like you also mentioned) they should be around the "right places" and perhaps not too weak or strong. My idea is that A0, CBR, B1- and B-1 just support the lower register and preferably not causing wolfyness. I think you mentioned every mode spreads around 5 semitones?
  9. I think it is not about some absolute pitch, but rather a design parameter where the plate has reached a certain stiffness to weight ratio. When the plates are glued the M5-mode (taptone) will be gone anyway, but there seems to be a relation/correlation between M5 and B1-modes, which are more important.
  10. I have wondered how resins and oils can be acidic, as acidity is defined by H+ ions in aqueous solution. I suppose it's because wood, resins, oils and even air always contain a few % moisture to allow acidic behaviour.
  11. I have seen a few also. One was from a 3/4 with 5 mm thick top and some sort of ridge left in the wood that had to resemble a bass bar. It did not sound like a 3/4 Del Gesu funny enough, could have been the bass bar
  12. Hi Doug, it's more about relative stiffness, so the stiffness with equal dimensions. Higher speed should also give higher stiffness. Would damping play a role in bows? Damping will decrease with age.
  13. I missed that part Searching the archives i found a remark by Bruce Tai: that might be the problem for many of the treatments after short term success...
  14. Thanks ctanzio, so the wood properties would not have changed that much in 100 years. I understand that a fungi treatment can speed up the hemicelluloses breakdown. Some years ago a violin from treated wood beat a Strad in a blind test. I don't know if makers here have experimented with that, but that one is on my todo list
  15. Isn't speed of sound also a measure for stiffness? From wiki on speed of sound: I also thought wood gets more stiff when aging, so a Lucchi reading was probably not the same 100 years ago.
  16. Just trim the sides a bit, it will be ok
  17. i suspect he means sanding some varnish away .. a weak d string has been discussed before, here's one with some more ideas:
  18. Hi David, do you also ship to Europe? (The Netherlands) I would be interested in the del Gesu 1736 and the Bergonzi 1736
  19. I finally struck gold.. First some boiled onion skin, 30 mins ammonia fuming (5%) and a coat of blond shellac .. it really looks like gold.
  20. Glad to hear he is OK! ... so Edi, what exactly was Stradivaris secret?
  21. Looks just like torn out varnish to me, sticking to the bridge feet.. the bridge seems to have had at least different 3 positions in a range of 2cm? I would not go against Jacobs advice, ... but i did sand and shellac such spots on my own violins
  22. The Pegbox is known for its resurrections
  23. I checked and it seems to be Osier Willow (Salix viminalis) what ive been using. I took some 12-15 cm wide logs, wide enough for neck and tail blocks. havent measured the density yet but i think it's close to spruce at .40-.45. And blimey, there are indeed loads of willow species...the things you need to know as a violin maker
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