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About Guido

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  1. Guido


    There are other terms and expressions around. For instance D.R.G.M, which was used between 1891 and technically shortly after WW2. I assume Ges.Gesch. would be younger and I wouldn’t think it was used in parallel. I thought there might be some facts around that someone is familiar with?
  2. Guido


    "Ges.Gesch." - I know what it is and what it means. What I don't know is the time frame during which this 'legal term' was used. If any historically interested patent lawyer happens to be around?
  3. I couldn't post either a couple of times because an ad was blocking my submit button. I don't feel like I have the capacity to change anything with my computer/ browser/ or software I use. Bye for now.
  4. Interesting violin. I'll be curious. At least it was build around an inside mould and had the neck nailed to the body. If it was one of the Germanic Fuessen derived schools I would have expected for Jacob to say something?
  5. One theory would be that Voigt made the instrument (if it fits) and later someone tried to upgrade it to an Eberle and instead of taking out the Voigt label, he turned it into a repair label. The (original) Voigt label was without a year and fits with the Neukirchen time. I would assume the original label looked like '...olinmacher in Neukirchen' bit and the bolding was yet done by someone else, possibly before the attempted upgrade to an Eberle.
  6. I have a bow, which the top bow guys on this forum all have agreed would quite likely be a French bow by maker X. I send photos to Raffin. He says, yes looks very much like French bow by X, but could possibly also be French bow by Y. They would have to see it physically to be sure. I carry it to Paris and take it to Raffin. Turns out to be a German bow.
  7. Ok, summary and final outcome for those interested. A 0.8mm shim in a New York neck reset raised the projection from 23mm to 27mm. i have come to appreciate that if one works on a fine instrument with precise edge overhang this would have to be considered a bodge job. but given that the instrument at hand had its edge overhang all over the place to start with, I reckon it happens to look better after the reset than before. Pics attached and for comparison the edge at the tail end.
  8. Ok, did a 0.8mm wedge which increased the projection to exactly 27mm. Surprised by the sensitivity. The edge overstand looks better than before the trip to New York. Mua-haha. Will post some pics tomorrow when the clamps are off.
  9. I decided to put on some Frank Sinatra and give it a go. Attached is a pic of my remaining edge overhang after inserting a 0.6mm shim. It doesn’t seem to matter much in my eyes for the edge overhang but the projection increased a whopping 3mm to 26mm! i think I’ll put in a 0.7mm shim and call it done
  10. I don't know how the instrument came to have this low projection. The neck is not in the process of falling out and I can see no indication of sinking. The instrument feels rather heavy and the graduation are probably on the safe side. It was made in the early 1990 by a chap who was then 80 years old. I wouldn't exclude the possibility that it was made this way. The only indication I see is that the fingerboard may not be original; and whoever did the new fingerboard may have planed the gluing surface (hence the low overstand) - maybe he wanted to correct what was initially too high of a projection and overdid it. As for an approach to remedy I'm thinking to combine effects, rather than get it all from one thing. I think I will start with a gentle NY, not aiming to hit the right projection but to keeping my edge overhang acceptable. Then I will re-assess, hoping to get the rest from tapering the gluing surface of the fingerboard, possibly make a new one. I will go and take some measurements. The fingerboard looks relatively thin. I appreciate thicknesses (also of the neck) are relevant when considering a wedge or tapering the gluing surfaces. What I don't understand is how slightly scooping both gluing surfaces will have an effect on projection. I'm aware of the practice, but always thought it would rather help to ensure a good fit at the edges and less tendency to creep when gluing. But as I said, I don't seem to quite understand...
  11. I’ve got this violin (picture) with a current projection of 23mm. Overstand is only 4mm to the edge or 5mm to the bottom of the channel (what’s the measurement convention here btw?). me thinks a wedge 1.5mm at the overstand would bring both projection and overstand close to standard. Are those fingerboard wedges frowned upon? else I could do a New York neck re-set, which would probably get the projection right and doesn’t come at the visual disadvantage of the wedge. i would like to avoid re-setting the neck proper. At least for now. what do you think?
  12. I would certainly not know anybody who would do a new fingerboard and complete set-up for $250!
  13. Guido


    I think I got it. i was very excited to see the lower treble f wing gunked into contact but after freeing it up I realised it wasn’t the cause. So, getting more confident that the problem would be inside, i did another round of tapping. A bit stronger with the knuckle this time. Got a rattle around the upper end of the bass bar after all. I guess that’s it then.
  14. Guido


    I have tried tapping around the box when unstrung and also applying light pressure to the bass bar end areas when creating the buzz. No indication gained.
  15. Guido


    I have forgotten to check for this! Thanks. Will have a look later.