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Everything posted by morgana

  1. The Messiah left F hole has been repaired. Now everyone can see the fluting on that violin, and it's called congruent angles, and very fine edging to make it stand out. It's called obtuse angle and also corresponding with the opposite, so the inside corresponds in angle measurements with and to the outside, at a a constant, within to without, in incremental angles along its edges.Both inside and out. An oblique angle is more than 90 degrees and less than 180 degrees. Yes? If a sound post is made 360 degrees in circumference of 6.2 mms and is straight edged to 90 degrees, the congruently oblique angles would have to allow for 6.2mms at the Apex. And also to insert with depth of belly length including the height at say two thirds of the length of sound post, so that works out at 3mms less circumference of soundpost to the ratio of widths inside and outside of the congruent oblique angle of the F hole. Meaning if the diameter of the sound post at it's point 2 thirds up of insertion is the same as the congruent oblique angle of 8.4mms apex insertion will not allow for it's ease, it will take a mms wood away, at insertion at least. So that's why, basically. It's more complex obviously but I need a calculator and a rest, Jeffrey. And if the Messiah F holes are bigger than 8mms topside at Apex then give me a strip of pine and some super glue lol! I am confused now....I think a sound post should be put in by elves, in the night, very small elves or trained ants. Medication time. And I don't understand what I have written either. I just know that I am still in love with you....x
  2. It can't be the same width as the F hole, unless you enjoy spoiling F holes, as they taper at an angle inwards, if not already marred. So how does one fit a sound post which is as wide as an obtuse angled cut F hole, without forcing it in?
  3. I agree Michael luv, about the thicker posts being detrimental to the sound, dulling, in my experience of the D and A strings more so, in a set up on both violins of full size and violas too, which is close string to bridge height settings within correct parameters of width arch of bridge, even string width, for classic set up, more so with so called flatter arching pf bridge, nut for fiddle players who like ability to double stop, I find intonation problems in 3rd position even though scoop is correct on fingerboard and feet fit correctly etc. Steel strings, can compensate for lack of brilliance, but not in the region, of 3, 4, 5, 6, and the E string suffers from lack of resonance too much. 6.2 mm girth on newly made still sappy sound post is as useless as it gets for dynamics, resonance and projection and basically everything, especially when the fit is not cohesive to top and back plates.
  4. Righto Jeffrey. On a lighter note, has anyone else had a catalogue of disasters retrieving a fallen sound post from the violin? I have. In front of a customer. I was sitting on my swivel chair, my neck against the back, as I have displaced neck vertebrae due to playing violin, I forgot to put my glasses on, it was a narrow F hole, so it was called by me a little illegitimate, and I got some crud in my eye, sharp, crud, which I also used choice language about as it really hurt, then, it suddenly showed it's ugly head and I pulled it out with pincers, which the little b.....d managed to escape from swiftly onto the hard floor, then, disappeared Houdini like, which I found with my foot, as I stood up and on it. Snap,...err, oh dear, sorry about that, to customer, I will just make you another one, smilingly. And, apologised to her about the number of swear words, as she didn't seem to have much sense of humour. The child learned somethings, though. Oops! Now I know what the back room is for.
  5. Yes, I have in the past, but nothing insulting others about their privates. There is innuendos, but I think Martin crossed the borders with that one.
  6. I'd like to ask a question about sound post dowels. I have used different grained woods, some are hard, with thick and dark lines in the spruce or pine, and others I have used from fir tree off cuts pale, fine lined, and almost 2 mms radius thicker over the years. Both have different qualities. The dark, pine looking ones are very hard, and are thinner, and if my memory is correct, have been useful for thinner topped, older violins, but seem to be not so good in newer violins or violas. Also, should sound posts be made of aged wood, or doesn't it matter?
  7. Sorry, I insulted Violin beautiful. I am glad you removed my comments, Jeffrey luv. But why not remove the penis jibe? That was disgusting.
  8. If the soundpost falls down, when the strings are being changed, Sospiri, luv, and you have carefully taken down the strings, one by one, cleaned up the fingerboard, checked for any problems, like open seams, etc. Cos opening seams do happen, which causes the sound post to shift, rarely, in my experience it would fall down, unless it was too loosely fitted, you should check the sound post anyway, for such things, then no, you should explain that the sound post fell down because of looseness, and it needs either a better fitting sound post, so charge after explaining succinctly why, as you should know if the problem was a too fat too loose or badly placed, drifting sound post due to loose seam, whatever, then, if with the agreement of cost, accepted by customer, either reset the sound post correctly, or make another one, which fits well. Nothing worse than the customer who thinks you are incompetent, or a rip off merchant, so be aware of what outcome can and will happen with customers who don't think they should pay more than is quoted prior to involving any outcome, not within their capacity of knowledge imparted by yourself at time of having hold of their instrument.
  9. Please Martin, there is no need for that. Duke was just saying about how to make a decent sound post by explaining about making with a nice story from his youth, for goodness sake, pack it in, please!!!
  10. Sorry Jeffrey, sorry violin beautiful luv, however, why say a bigoted pointless comment? Oh I only work on high end instruments, then don't impart any useful input apart from saying they don't really do anything much, as these high end instruments are coming in with a high end set up!!! Agghhh! Come off it. If the person who owns it or borrows it, they aren't able to alter the set up, even when it may be necessary to work on it. How does that work then?!
  11. So, my luv, you deal with high end fiddles? Only high end bits of old wood? Give it a rest, we scum don't need to listen to your waffling. Okay? I'm bored with this topic and you dear.
  12. Hiya Duke, yes, graduating inside on the C bout area, dependant of the form, mould, as in, if you are going with a Guarnari, Strad, or any of the lads from the big robust era, keeping that area inside more flatter around the middle C bout inside and doing the graduations, edge flutings on the outside I feel is dependant on having been around alot of diverse violins, because a problem I found, whilst starting off with my restorations on violins was that the long Strad shape was easier to fit a sound post to it's interior because it, or those ones, was just simpler, than some German narrow bellied thick on the outside and the inside was very arched obviously. So, keeping the table bridge area thicker width wise inside by at least 2 mms across and not go too rounded inside, but the outside is where the fluting edges seem much better for a better sounding instrument. And fitting the sound post an easier exercise, although the vital area on the back plate usually is slightly more at a deeper angle up to the edge bout so, that needs more of an angled cut than the top of the sound post dowel. The back plate always is more rounded but not so obvious in a bigger bellied width wise violin.
  13. Yah, it wore me down going through the work but, Nah, the viola sounds very good. Then again I would like one of those tools even though you sound terrible it's less wear and tear on the arthritis but Iwould need a prop to take the weight of that vibration tool, David luv XXX
  14. Martin, that IS the CORRECT answer, not only your opinion. I stand by you. Mikey hun, I'm in love with you and want a warm milky bedtime story, instead of ego induced endorphine leaden misery about silly sound posts to mask the utterly wonderful nature, cruel, callousness we need to really be at one with each other. Give me a cyber hug you gorgeous man!!! Now damn it!!! Lol! Aww no lets talk nicely and remember the oldies who helped you and me in our entre innocently going into the world of lonely COD obsession with the devils' plaything. We all need a break, and as a message from old Abraham who was a lovely old lad, prophet of pearls worth more than even a broken heart couldn't mend. He said, to cut the shape of the sound post, offer up the back of the violin to an uncut round of spruce, aged and flat, then place it on that back, where the sound post position will be, then draw a line across it's girth after tilting flattened end, with pencil crossed at base of back end. Making sure that the grain of the spruce is at at less than 45 degrees., then turn the post on opposite end and offer it up to the front at that same append in conjunction to that back plate. Then mark the spot in the same way with pencil, draw a line on tilted end, then cut through sharp tool need you. Beforehand also measures made of said post from gauge inserted into right handed F hole to make the size completely correct and mark with a circle a cross inside said instrument, at the only place a pencil will go at the back, you know. Remember to mark the top and bottom as well or only something forgot, ten will be a gravely waster of your time, and put you out of your sure sense of mind. Then cut with a sharp knife across the pencilled marks, be true be bold and make it not blather the edges, a crisp snap is better in long rounds, than miserly short edges. Remember always to work upside down but the cut is sharper than Georgies tongue, and then use a sharpened tongue, with a careful eye as you place it's spiritual gift inside. God Be With You xxx
  15. Exactemonty mine Fuhrer. I agree with everything you say, all the time. Just keep thinking about that vibrating pumping bridge foot allignment tool on youtube. I was erm...oh sorry Jr Levity...I'm going somewhere where we can forget. Georgeenie Weenie, loved by all.. and she's mine All mine. Ha! I think we are entering our Mauve period here. Confused? Me too. Dead Siamese cat. Still upset. But getting drunk now so I hope you and your lovely wife are good xxx
  16. Ta Evan Bobien! You know a good few things and are eloquence of epic proportions and I bow gracefully to you, my Cutie Bach, Bora Da, my little petit fleur, Viv la liberation! Nes pa? Zee hot house is there to keep The rarest orchid, as well as the Venus Fly trap. xxx
  17. I accept your apology, Al, no worries. I'm just finishing work at this ungodly hour, and just have been going through a 16 inch brand new, cheapest of the cheap unbranded which I bought for £38.67 and free shipping from Amazon UK. The reason for buying it was the case and the rosin. The strings, the integral tailpiece. The viola is correct in dimensions, fake purfling, laquered varnish, the fingerboard is maple as is the neck and scroll, the pegs are wood with black dull finish, as is the chinrest, the endpon is ebony! Bizarrely. The top is some kind of real wood, looks like very close grained semi softwood, it's fingerboard is better than some higher end old violins, with correct length arching width, almost and better scoop than I expected. I have wire wooled the fingerboard dyed it again and rubbed it with a bit of renaissance wax, for easier shifting. It's got a sound post! Hooray! And it was a bit wonky at the bottom end so I just pushed it carefully eastwards. I tried to carve the bridge which was a BIG waste of time but you do these things for practice, the bridge is correct sizing for a 16 inch viola 50 mm and I then, after trying to thin it, re shape it, fit feet flush, tried it out. It was slipping, so zI looked to the nut (I had shaped it more rounded as sharp edge to the back, then saw immediately anyway that the notches for the strings where not correctly measured, however I tried it without changing them. That bloody bridge was slipping west. I played it and it sounded like a dog. So I corrected the spaces on the nut, no, still crap sound and shifting. I then found a bridge from a 15 inch viola, of which was only 48 mm and much better hard maple, shorter in height, the feet fit exactly which was lucky. OMG that viola actually sounds very good. Not the same viola! It's powerful, resonant, wonderfully dynamic and even though it needs to be a bit higher on the G string it is so much better. I have learned from all of that work that as long as everything on the instrument is correct in terms of weight, depth etc. The soundpost will not make sense to adjust unless you go through everything else that corresponds with that certain instrument, even if it is a mass produced one. Meaning that everything made is not exactly the same so judgment on just changing a sound post, after many years of believing that it alone, can do wonders for the tone, well, the sound post needs adressing within all other considerations. I long suspected this trouble and have now realised that all of the sound posts in the world won't make much difference unless they aren't there or are broken, twisted ill fitted, or made of straw ir prawns. Anyway, just to add on, that a decent sound post is one made from spruce, and aged and if anyone carves their own sound post or uses a machine to shape it, I congratulate you if you are good at whittling a circular dowel. A sound post gauge is a really needed tool. Because it gives you a chance at a fair contour each end and length too. Some old violins have a mark made by someone who either made said violin, or had set a sound post in thedaus gone by, on the back inside with a circle or even a gauze cloth cut round and glued in. Everyone I have seen seems to be further back and more east, as in to the curved edge right hand side, which seems too far back, when reading standard fitting instructions by divers luthiers, restorers, doctors, hypnotherapists and knicker wearing constables. An F hole, is a maker's showpiece of intricate carving, scraping and aesthetics of grave importance, so if someone comes out of the primordial sludge asks you to fiddle with his sound post, as his Del Gesu isn't sounding as good as it should then tell them, I will check your instrument out now preliminarily, and see if it could be something else after inspection. Then check for too tight, too loose, crack, bulging, soundpost shrinkage, neck gravity, either downward or upward, play the thing, then maybe you can actually know how to deal with customers which is 90 percent of running a viable business rather than the Victorian waffle spoken by cranks who also think that insulting people is the way to actually get the benefit of their custom. Explaining that in a way the average lay person understands, concisely, and actually multi tasking is the direction to become adequate and useful in this passionate niche business. Jimmy Hendrix, have you been experienced, well I. HAVE. Still working at it. Still gorgeous too. My fluffy kitten needs a cuddle now and I need to annoy my neighbours by playing my cheap viola. The thing is, ppl these days buy these instruments and think they will be all right just setting the bridge up, tightening the strings and then moaning cos their bow doesn't work. Try ABC easy as 123. Spoonfed ppl feed my pussycat.The Rosin goes on the bow by ruffing it up and rubbing up and down the bow hair after tightening the end screw. Aaaaggghh! Jeffrey, I'm sorry but I am fed up with spoon feeding players on here now. But I am grateful for the ones who have gone to great trouble to help me. Love Ya! XXX
  18. I was trying to diffuse the fighting with humour. I am no bot, and you need to understand that you ask questions and then try answering your own questions instead of actually reading other people's advise, replies. Please don't speak like this to me again I thank you. A strong metal coat hanger is useful for the task, as I have utilized this method. As long as it's definitely hard enough metal not to bend much, okay? Have a great day! Xxx
  19. Jackson I protest. You are a sataristical fibber! If you took me in the back, staring, yes...drinking...yes, but not out of the window. No position unattainable after a swift slurp! I like coffee I like tea, I like a Vodka and you can not not like me, he Lol! Sorry for being so in love with me, I understand XXX
  20. Hello, am I invisible? Have I ceased to exist? Also, why does there have to be nastiness again? Stop fighting or Georgie will smack, she will smack! I've made and set sound posts to around 800 violins some of mine which I made, and needless to say, so I will, have shed blood, swore, prayed, cried, and effed up a few F holes, by being crap and amateur in those dark, lonely cheerless hours, learning how to not give up and just go down the pub and have a fight, BTW, those S shaped sound post setters, in my opinion, and bitter experience are too wide for violin F holes. They are fine for big violas say 16 inch violas upwards in size. I tried that clasping one and it's also a pain in the arse. String is stupid and pointless to the point of ridiculous proportions for setting in a sound post. If your sound post has fallen down and needs re setting, and you have never re set one back in and you are not near a violin repairer, but you have to play the violin, viola whatever. Maybe you ARE one of those rare creatures, hardly seen in the open, especially in the daylight, mainly kept in captivity now, a violin player, which get's it's money for playing music well enough to actually get paid real money for playing (rare enough) and your Guarneri's sound post, fell, in a bizarre set of circumstances involving a projectile vomiting violin playing creature, in a cyber café close by Notre Dam, on the very day before it was burnt down in a mystery blaze, who had chosen the precise moment when you opened your violin case, taken out your precious fiddle to finger practice Mahler, when the full force of the prawn, oh and carrot infested sick spurged with hurricane force issued from said fellow creature's mandibles, through your F hole, with resultant sound post dislodgment...hmmm. Bit of a sticky situation and, as Shakespeare said, before being pelted with rotten tomatoes at the Globe, and quoteth I, The Bard, "What do you bloody well mean! not too far fetched." The Audience, retorting, "Oh yes it is!" Quothe I The Bard, "Oh no it's not!" Which we all know became extremely popular AND the standard comedy routine used worldwide (and on Maestronet quite a bit too much)... Now where was I? Quell Ca Chouse, ooo eh la sichuaaachioneh? Eh le mantanant la coat hanger, wire of course Mai wee! Also la cutting tool of zee choice, zee metal snipper cutters. twist de metal, snip wiz ze cutters, shape de la coat hanger to an elongated S shape...use de sharp cut end as zee proder of zee prone naughty, sicky post, Dans la position air mae wee afterwards of zee cleaning Dans la Guarneri.. Ou e la prod la twist insertionay Dans la eff hole of la right hand side oui? Ya, then, shwoosh, slide upwards twist, stick a la post Dans eh la positionaire profound, a la oop! Bon! Perfecioneh!! Eh! ! Magnefique! Merci, merci you are too kind.
  21. A sound post should be slanted towards the bridge foot slightly as in 3 degrees from perpendicular to the bottom of the sound post and less than 6mm thickness of the sound post with the grain of the wood 33 degrees of angle against the grain of the top plate, if it sits underneath the back of the bridge foot towards middle and not too tight, it will vibrate in unison with both backwards and side ways motion rather than a raspy sound, which comes from hard wooden sound posts too thin and too tight, it will sound much clearer, project best and will brighten up the sound. And dynamics will respond better due to the correct pressure of the post connection between the two plates. Also in bigger instruments like the viola it stops buzzing on the C string. Do it when on medication or if you're into Sadistic self harm....
  22. Hi everyone, I have 10 Gut strings, unused with the red silk ties on them.They are all sealed in the original wax paper pouches. I've got 110 left. They are exeptionally good, in perfect condition and tied properly. They have been tested out by me and other Philharmonic players who have had a good many passed around. Anyway if you want any before the lot go, get in touch with me via pm I am in Liverpool England but can post photos are attached. They are long enough also to get 2 lengths and they are still with extra length even halved! Bargain hunting baroque players welcome as well as mandolinists, guitar players who use gut strings, and the tone is very clear and presice. I can post securely xxx Georgina Walker
  23. Metal endpins unless buffered by a rubber stopper are one big vibrating nuicance and cause the bottom block to break too, so that I know from being around cellists. They like not getting a Pirastro A in their face, or the great greasing up as well as various other nightmares like seam splitsting due to tensile pressure, cases too small, no case fits a big cello with deep ribs. However the price is ridiculous. It's not justifyable, like string prices. And how does it stop upward outward distorsion. It's an endpon, no matter what it's made of. Not a supporting block, or a self cleating cellophane insert. That's my bag by the way so hands off, I have patented it...and it works.
  24. Jacob, luv, that violin is really lovely. Isn't that the weirdest happening! I mean, the odds on your violin being sold back to you from a house clearing stranger to you make me feel like taking up gambling! And believing that a quid on a 100 to one bet in the 4 oclock will win. And that there are aliens and that I am one. And that strange things happen for a reason not sure about the chances of me actually selling a violin, now that IS too far fetched, even so, I wonder what happened to the owner of your violin? Xxx
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