Kev N

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About Kev N

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  1. Thanks for your thoughts guys. Nathan, maybe the story on why I first made it will help a little to answer the question, I hope.... I guess I didn't really mention it, but the way the jig came about had more to do with a few complicated rebuild/alignment situations than simply mounting a neck on a "normal" or new violin. It happened several years back when I ran into an old lower-end German instrument (roughly turn of the century) where the bouts were not at all symmetrical, the end pin was off, and the neck was also badly off in 3 axis (height, angle laterally and vertically due to
  2. In recent years I have had to deal with the resetting of two messed up necks (following M. Darnton's very well written explanations on the subject) and other various alignment issues. After struggling a bit (I am still very much an amateur at violin restoration) I have gradually evolved a method of being able to hold the body and neck in the position(s) that I require. A sort of "alignment cradle" if you will. While I have seen all kinds of helpful pictures and explanations on every subject under the sun here, I wondered why I have never seen much on the subject of how to hold a violin f
  3. I dont know if it would bear upon the decision, but I measure about 600 grams, maybe 20 oz of compression to force the bar back onto the plate face that it had lifted from (perhaps many decades ago?) when I try and squeeze the lifted end back down. I am a bit of a beginner at this, but that seems like an awful lot of force. Which makes me want to believe that the bar had warped for some reason in a way not originally intended? I assume? I do know that there has been discussion in the past by some that "preloading" a bassbar might have some advantages....but surely this would not be an ear
  4. Thanks for the sage advice guys. Then a new, but identical (except for the warp...) bassbar it is.
  5. I few days ago I started to prepare this violin (using the advice kindly offered here) for the rib (re)repair it so badly needed. So, I began by cleaning off all the old glue crude with hot water, cotton swabs and small scrapers. I have attached better pictures of the four (now cleaned and hopefully more visible) corner blocks, in case anyone is interested.. One of the first things I discovered after the glue was cleaned away was that the thin "ebony pin" that I thought was located in the bottom block was not wood at all, but a very small little nail. Oddly, it seems to align with a
  6. Thanks for your knowledge and thoughts Blank Face, Brad and George. I appreciated it and am learning something from you guys... Kev
  7. I too had assumed that it was a BOB work, having read that bit on the subject, but then I know less than anybody here. I did discover something that may be of interest though. The label appears to be a fake. Color me stunned....:-) I noticed something hard like an old glue remnant or something from a previous label that I could distinctly feel under the present label. Upon looking much closer in the best light, I am sure I see the shadow outline of a previous label slightly off to the right and above the present one. Hopefully this picture will show what I see, as well as the telltale glue rem
  8. ...and got a little bored today waiting for a customer to get back to me, so I went down to my shop and took the top plate off. This is what I found. Top plate with bass bar measures 64 grams for what it is worth. All surfaces inside very smooth.
  9. Hi Guys and Gals. Let me start by saying thanks to all those who have shared their expertise here. I have not posted often but have learned much from what many of you have contributed these last several years. Whether my skills have improved from it is yet to be decided...... I recently managed to pick up a possibly awful, but interesting (but maybe not awfully interesting) violin to practice more of my psuedo-restoration skills on. First, however, I want to make sure it isn't a Strad, just in case he made some violins while vacationing in France (like I have heard here that he did in Ger
  10. ...I will add that I have found Wenge to be very abrasive/wearing on handplane blades. Far more than Cocobolo, Rosewood, Ebony, etc. Like literally one or two passes and they were noticably dull and skipping over the wood. Ughhhhhh.
  11. Woodman...I have chosen to use small wedges of replacement wood in a situation where the neck joint had been badly repaired on a long ago previous occasion. They had used a permanent glue similar to epoxy and unfortunately set the neck at a far too low angle and had also left the neck short in the process. The bridge was actually 10 mm shorter than the normal 33-34 mm, on a belly around 16 mm high! There was much damaged and missing wood on the block from the previous attempt, with some of the voids partially filled with this abomidable glue that they had used. The violin was probably a low va
  12. ...and of course, a picture of the "neck soup" simmering.... Actually worked well, except that there is a little cracking of the wood on the endgrain faces of the scroll as the core and outer faces dry out at different rates. Most of it goes away as equilibrium is reached over several weeks, but some tiny evidence of the cracks still remained.
  13. Hi Maestroneters... First time posting with pictures, so I hope I got this right... Earlier this year I was given an opportunity to restore (mostly for my education and fun, having never worked on a violin before) a probably worthless old violin in really bad condition. The worst problems were in the neck socket area where much damage had been done to the box by a previous repairer. The scroll part of the neck was very badly twisted/warped. The belly had been very deeply damaged under the E fine tuner, almost all the way thru. However, after several months of reading the sage advice