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About Eryri

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  1. Importance of grain direction on maple backs

    Good result. I recently knocked up an outside template after seeing a thread here (sorry, can't remember which or who -but thanks). It makes deciding positioning to get the best choice of cut much easier. A surprisingly useful tool for half an hour's work and I now wouldn't be without it. Could possibly be usefully employed might want to make one! I've just recently deliberately offset the grain on a back because aesthetically I like a little left to right rise in the figure on a one piece back, rather than near horizontal. Not quite as much as you're thinking of here, but I've done it before and am not expecting any tonal penalty this time either. After all - two considerations - the back isn't driven symmetrically by the soundpost, so if there is any effect it is as likely to be beneficial as not, and also I'm thinking the difference in stiffness being a few degrees off symmetrical/vertical isn't anything like the difference between quartered and slab cut wood.
  2. Importance of grain direction on maple backs

    Dig out the inclusion. Then decide what to do, up to and including rejecting the piece.
  3. MN poll: What's not to like?

    Things going better than expected.
  4. Ben, thanks for this. The sound is extraordinary. And needs to be out there as a possible, whatever physical constraints the instrument imposes.
  5. Input needed colophony + nitrocellulose?

    Nitrocellulose is a high explosive, an ingredient of gelignite (nitrocellulose dissolved in nitroglycerine), and is unstable enough to have fallen out of favour as a blasting explosive due to being too unstable - unless kept underwater. Look up gun cotton... Seem to remember from way back when I was interested in this stuff that it is 13 times more powerful than gunpowder.
  6. An Eccentric Violin with 5-Ply Purfling

    "built using an imported commercial neck and scroll." And a neck in two halves would preclude this anyway, I would have thought. But stylistically it doesn't look like that either. Separate bass bar very much less common on Voigtland through neck constuction.
  7. An Eccentric Violin with 5-Ply Purfling

    Separate bass bar or carved out? FWIW I don't think the scroll bought in.
  8. Violin ID and Restoration Tips?

    Nice work, most especially for your first attempt.
  9. An Eccentric Violin with 5-Ply Purfling

    My gut reaction is the purfling is original, and also, despite what Violadamore says, the neck and scroll are not stained but well flamed. You can see the contrast between the original neck wood and the under fingerboard wedge. Could just be a fancier Voigtlander than normal, but the narrative that it was made by an emigrant Voigtlander violin maker in the USA is a better story, and the careful work, fancy purfling and scribe lines* maybe point to someone usually pressured to work fast, being allowed to work slowly and take a little more trouble. Unless a similar one surfaces with a label, though, I guess we'll never know. *Whoops, edit, in fact a glue line and a two piece that does take it out of the ordinary.
  10. Violin I/d - possibly English?

    They look ok. I apologise to your violin for the disparagement!
  11. Thinning varnish

    Sillafu - Bobol bach - sais - iechyd Heb trafferthu gyda'r treigladdau. The crwth was derived from a Roman lyre which then acquired a bow, either from someone who had travelled in the middle east, or brought the idea back from the crusades. It was not an exclusively Welsh instrument, for example the English surname Crowther denoted a player or a family who's members were crwth players, and Crowther is not found as a Welsh name. The Crwth was certainly widely played in Cornwall too. I'll concede it may well have died out most recently in Wales - Meredith Morris (of British Violin Makers fame) can remember it being played during his youth , and it's profile nowadays is highest here, and I kind of like it's status as Wales' "underground" national instument. I don't think it can be said to be a Welsh invention, though. And as well as Britain, Finland and Estonia have similar instruments too. Incidentally the crwth in the video is not typical of surviving Welsh examples. And Welsh exponents play with the instrument played horizontally and bowed vertically, off the shoulder/chest. I imagine you have an early authority like Gerallt Gymro to back up your assertion regarding close four part harmony? Before I accuse you of malu cachu?
  12. Violin I/d - possibly English?

    I think only the left hand one has. It looks to me as though the choppiness in both sides of the stem, as well as being much wider than the right hand f hole would indicate this. Does the area I allude to look as if the sides inside the f have been retouched? Or are bare wood? You could post some close ups of both holes - it isn't impossible it left the factory this unbalanced, but more detail might help to say yea or nay.
  13. Violin I/d - possibly English?

    Possibly JTL 'Imitation Old' line, 'Caussin Vosges', also known as. Probably once sported a 'Copie de' label. Not beyond the bounds of possibility also there's a JTL brand on the top block, which may very well be visible through the hugely re cut f hole. Or more usually the endpin. Can sound above average if well set up.
  14. Copper Violin Bow Information

    Interesting. I have a John Grey all metal bow - aluminium head not unlike this, steel stick and all aluminium or perhaps dural frog. It's in my Strohviols case, seems an appropriate partner.