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  1. Rimino

    Bausch Bow

    Hello everyone, is there something I need to better describe my post or is there something else the reason why I don’t get any responses? Thanks everyone.
  2. Rimino

    Bausch Bow

    Hello everyone, I have a Bausch pernambuco bow, 74.1 cm and 54.5 g without hair, that I bought from a friend (who I also purchased from a while back an authentic Ludwig Bausch bow stamped under the frog with tiny silver bird’s eyes on each side of the frog that I showed to a professional appraiser). It isn’t stamped Germany on the shaft and is nickel-silver or just nickel(?). Can anyone tell if it is from the Bausch shop when Ludwig Bausch or his sons were alive? Thanks a lot everyone.
  3. Ok, I’ll try to wait till then, I’ll call soon.
  4. I can sharpen without the usual sharpening device with an angle and wheel, but do you use one of these? They seem to do a perfect job really fast. If a blade is not square, do you use a special grinding wheel to correct this or some other way?
  5. Thanks a lot for all this information. As you do this, I think you cut the sides of the mortise slightly narrow at first so the space gets ?mm beteeen neck and button, then you adjust the back of mortise that faces bridge to proper finger board projection; then adjust sides of mortise and neck between neck and button with chalk repeatedly until It fits perfectly, and then take the one or two last shavings to create the 1/4 mm gap between neck and button. Is this correct; if so, how ?mm initially close do you bring the neck to the button when you first start out? Do you draw with a stick of ordinary chalk on the sides of the mortise, put the neck in and take it back out of the mortise and check the sides of the mortise to see where the chalk rubbed off to see where the adjustment needs to be made?
  6. Thanks a lot for this. Neck setting is becoming clearer and way more simple to me now. After two or three neck sets and putting a wedge under the fingerboard last of all on my last violin, I’m armed with some experience and now these sound principles and skills.
  7. I use it to glue the blocks in, but the blocks separate a little too easy. I used hot hide glue before but I think it held too good and I had to really force the mold out.
  8. I don’t use it on the violin, just to glue the blocks to the mold( do you know of a better glue to glue on the blocks?) I buy raw granules of glue and use cow hide to glue on the top and fingerboard and rabbit skin for the rest (is this correct?).
  9. I picked up a Sargent no 409 c (corrugated sole) smoothing plane (no 4) off eBay inexpensively, the sole was mostly flat but I flattened it more on metal with 150 grit sandpaper with a lot of 3 in 1 oil which a plane collector told me to do and granite and likewise with the blade which I finished off with stones and a strop all in less than an hour, the plane is extremely easy to use and well balanced and heavy and and it flattened the top wood very easily and quickly.
  10. Ok, which fit do you check with the guage you talked about?
  11. Thanks for this. Do you check the part of the mortise that faces the bridge with the fingerboard on? I don’t see how you can (if you’re constantly checking the fingerboard projection) access the mortise, or do you just work around the fingerboard?
  12. Thanks a lot, I know exactly what you mean, now all I need to do is to make the guage.
  13. I just got one like that really cheap, maybe it will work too?
  14. Do you mean the heel as being the side of the neck base that faces and goes against the mortise?
  15. When you put the gauge in, how does it tell you where it is tight or loose since you can’t see it,? For example, if it is tight at the top, but loose at the bottom, how will you tell it is loose since it won’t move or flex at the top where you have access to it?