Guido

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About Guido

  1. So far I have stuck with medium gauge strings, mostly Dominats. What is it that light or heavy versions (e.g. of the Dominats) are supposed to do for you? Response? Volume? Suitability for certain instrument characteristics?
  2. What is it about E strings?

    Just wanted to order a Goldbrokat E to try. But apart from the different gages, there is also "Boldbrokat Premium" with further optins for plating. I think I'll stick with the bare steal in a medium gage (26) for the first test; but what's the defference between "Goldbrokat" and "Goldbrokat Premium"? Worth the extra 40 cents? LOL
  3. Wood ID?

    I have had a piece of lighty cloloured rose wood ("Palisander") from German ebay that was sold for the purpose of knife handles. Was good for a tailpiece.
  4. Not quite right

    Just for a bit of fun... ... add as you see fit
  5. viola string question

    'Duh' to self. It just occurred to me that I should probably go for 3/4 size viola stings in this case... I also found the Thomasik Infield catalogues and violin/viola strings seem to have the same colour coding. My G-string would fit with PI colours and my D-string looks like a PI A-string (mmmm). No idea about my A-string though (purple both ends).
  6. viola string question

    I mostly play violin and only reach for my viola occasionally. I had some unknown strings on this viola, which worked very well for this small (15 1/6) and old (ca 1830) instrument. Since the C-string broke I have been struggling to replace it with something that works quite as well as the old string did. I thought the viola had a set of Dominants on it, and now that my new Dominant c-string (medium, silver) has arrived, I think I was mistaken. Who can recognize my old strings (A, D, G)? All purple tailpiece colour and various pegbox colours (A purple; D blue; G yellow) looks like PI but the pegbox colours don't seem to match, unless I'm looking at a violin pegbox colour chart the viola colours are different? Also, do you have any general recommendation for an old and small viola? I figure a soft string might be preferable for the short sting length but I'm just guessing.
  7. Antoniazzi Features?

    Eric Blot's Liuteria Italiana (4 volumes) has a lot on Antoniazzi(s). I don't know from the top of my head which volume is was. Maybe you can get it through a library.
  8. Taking out test label

    As others have said - this will work very well (with hide glue). I have done it a few times but always left it for a couple of hours at least. Will have to try the shorter time period myself. Depending how soaked you paper towel is you'll need to take care to stay clear of the back seam and linings. I lay the instrument down at an angle, so the label is at the lowest point. I also take off sting tension to avoid any deformation while the back gets soaked - that's probably not necessary, just a precaution.
  9. Who was "D.Johnstone" (around 1900)?

    Hey, that's great! Do you know anything about him. I'm glad your varnish looks better. Probably someone has messed with mine. And how does the instrument sound? Mine is still as posted before without set-up somewhere midfield on the to-do-later list. Can you post some more pics?
  10. Germany or French

    I find the term Dutzendarbeit to carry a negative connotation, which duely applies to the vast majority of violins that would be labeled as such. However, there is in fact a wide range of quality (and price) that would be called Dutzendarbeit.
  11. Case ID - as the case may be

    What an amazing job. I'm so glad the case has found the best possible home in the world. I think I would have never gotten around to do anything with it and proabbly just pushed it around forever. Regarding the wood, someone mentioned satinwood before. I just came across a Hill bow case in satainwood that looked similar - at least the color at a casual look. Unfortunately, the book is with a friend I can't take a closer look right now. But I assume you would have recognised if it was satainwood anyways?
  12. MOLDS

    I'd second this regarding the thickness question. The molds are usually 15mm thick or thinner. You can calculate back from desired rib height and allowing for linings. Regarding the cut-out for blocks, I have seen Geissenhof molds with the first style but beyond that I don't know how far back they go or when or where they originated. Would be interested to learn about that, too. The second style seems to be what the old Cremonese masters used and appears to be more common all around. I was also wondering: This first style seems to produce blocks which are about an equilateral triangle in plan view. Our blockology seems to assume the second style when testing for inside mold construction...?
  13. Austrian? Hellmer?

    Meinrad Frank, I'd guess. Ribs planed down from the bottom. LOB well over 36cm?
  14. Bow Branding - Hill & Bausch

    The book "The British Bow" by the VSA features 30 Hill bows, all of them are branded 'upside down'.
  15. Bow Branding - Hill & Bausch

    Many (or most?) Hill bows would have a letter stamped on the slide and the underside of the stick to match stick and frog in the workshop. Mostly, there were six bows done at a time and hence letter pairs range A-F, but sometimes there were more.