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Everything posted by Goran74

  1. I was reading Strobel's Art and Method of the violin maker. At page 29 refers to an English method of building a violin on a flat board. Inner line drawn, blocks placed and the ribs and linings attached. Is this method possible? I can imagine attach everything on a board. But when blocks pulled off, does the structure hold its shape? How can be traced the front or back if corner locks are on board? Thank you
  2. me neither - but for cheap violins, that are glued with God knows what kind of adhersive material and very fast restorations, blade can be used.
  3. Violin necks can removed with Japanese blade, the one that is used for mandolin,guitar etc. frets. And I have seen many (cheap) violin necks removed that way. https://www.fine-tools.com/japanische-feinsaege.html (look at the 0,2mm blade) (for 20 euros is cheap enough, and you can use it at bow frogs and other things.)
  4. Thank you for your answer. So, do you think that Jalovec is not a proper resource for plans?
  5. Hello. I plan to make a Maggini violin model based on Jalovec's drawing (Italian makers). Also "Paolo Maggini, his life and work" book from Hills is very interesting reading. Is Jalovec's plans a good material to work with? Since I plan to make it without mold, on the back, and this is the first "on the back" violin I make, I would like to know more about that way of construction. Here in Maestronet is mentioned an old Strad 3 pages issue CONSTRUCTING A BRESCIAN VIOLA / Ruth, Benjamin (March 2006) but I cannot find to buy it anywhere. The Strad sells issues from 2010 and after. Also, my local library has no Strad magazines. Also, there are several discussions on building on the back, and somewhere is mentioned Leroy Geiger's book on violin making (something that I am not sure if it worths buying). Which would be the better method to follow? If there is something helpful that I can purchase I would be happy to listen (except books like "1520-1724 Violinmakers in Brescia", that I cannot afford the price).
  6. Thank you Mr David. Your words are important to me, since I know and I appreciate your work.
  7. I decided to "correct" it. Hope, after grounds and varnish, the add to stay unnoticed.
  8. Hello. I am not opposed. I am just more on the side of letting as it is and just try to decide. Absolutely right, both. Exactly. I attach the neck and the back at the end. Thank you all for your comments. They are really helpful for me.
  9. Thank you all for the answers. Neck is not finished yet so there is no problem for the extra mm. I am more on the side to let it as it is. "Noticed" as structural difference or as disadvantage? It is not to be presentated in any competition, but this is not my reason to do inferior job. And this is the reason I worry about.
  10. I went a bit deep in this mortise, around 7,5 - 8 mm inside ribs. I was doing it normally at 4mm. Will this have any serious impact on the violin? I will keep the proper angle at the neck I will make after. At the book Court. and John., they are not going deep. Some old violins I have seen are going much deeper. Thank you
  11. Thank you for the answer. I will do my own experiments on that, but I would like to know if someone already had experience.
  12. Hello. I would like to ask if anybody used chemical treatment to make colophony dry faster (without heating it for hours). G. Fry referred to Nitric acid, Maugin in acids too etc. Such acids I would like to stay away. Michelman and Keith Hill are using ashes. I do not have the Michelman s book but I read the article Lost art of Strad Varnish. Can I treat colophony by let it in water with 2- 3% KOH or NAOH? Even sodium bicarbonate (baking soda) that I tried, after 3 4 days, made the rosin less tacky. Is there any treatment with metalic salts? Thank you
  13. Thank you all for your answers. Mr David thank you for the suggestion. I know the book but did not have pay attention to that varnish. Mr Giovanni, thank you too. I know Michelman s recipes. I have to say that I admire him as researcher, even I am not fan of his recipes. Why do I have to convert the resin? Last days I was thinking the known Marciana varnish, with just melting the ingredients, and adding drier - Pb3O4. That means: Raw linseed (just washed), colophony (pine), mastic and Pb3O4 (or another type of lead oxide). Then I can add some color (dissolved in turpentine). So, the use of heat would be minimum, without fumes etc. Question is how much drier should I add. Once, a Marciana bottle I had, some way became solid in 3 days. Such way, I solve the problem with fumes etc, the problem of drying and the problem of color. Such way I see no reason to cook the varnish for hours and turn the resin black.
  14. Hello, I would like to know if there are especially colophony varnish recipes that do not use heat (for us who live in cities and apartments). Possible solutions will be with alcohol or distilled turpentine. I cooked many times varnish (colophony, linseed oil etc) but smell, smoke are too much for neighbors (and wife). Linseed oil can managed just by washing and sun. Thanks
  15. First of all thank you again. I have the Henderson s book. I tried something similar but is not working (or it is working but not as perfect as a pro bow needs). These tools are good but their price - "better make your own".
  16. That is great. Congratulations. Many thanks Mr Dorsey. (I made a lot of holes just a drill and the stick. It is a matter of experience. After opening some tenths of holes, it is not so confusing. After the drill and stick (at straight line plus a good experienced eye) there is the option of the lathe.) Please, can you give an advise on making the nipple without purchasing the nipple cutter that costs a lot of money? I managed to make it by files, but wonder if their is another option. Thank you
  17. Thank you for your suggestion. Back was deformed and corners were open. Also needs new fingerboard.
  18. Mr. Saunders thanks for responding and I express my respect to your words. The back was open in the most parts and deformed. It is from late 19th and I know the bar is carved. I was thinking if it has any sense to make new. The top is badly carved from the inside. The rib corners are open too. Linings are bad made too. Some are unglued and some very bad cuted.
  19. Hello, I opened the following violin (I decided to restore it). It seems that is built on the back (the fast way - no mold). The back was half opened so that s why I removed it first. The violin has no damages on front and back plates. I understand that it was a cheap, fast made instrument, but I think I can do something better for it. I want to replace all the linings that are badly cutted. Do you thing I have to add corner blocks? Also, would it be good idea to rebuild it on the back, or to begin by gluing linings ribs, glue the back and then open the front? (the neck is glued with epoxy as I examined, and it will be hard to remove it too). I want to make new block at the base too. It does not have good contact with anything. About the bass bar.: I will cut of the kind of bar that has. But, do I have to add a modern one or to make shorter (close to baroque size)? <IMG/>
  20. Yes. Making a new frog without underslide.
  21. Dear Mr Jerry, first of all, thank you for the invaluable 'lesson' you provided here for free. Secondly, I would like to say that French, especially transitional bows without undersides, have not such a deep chanel and 45° angle like modern bows. My biggest difficulty on frog was to make a chanel without underside, and make it perfect, without cracking the edges (no CNC involved) . All the times I was using CA glue at the end to fix some scratches etc. After Chisel I was using files to straighten the surface. If we use only hand tools, what is the best way to open the underside chanel the perfect way, before silk and glue treatment?
  22. Thank you all for your answers. It was clear for me.
  23. Please Mr. Jerry, I would like to know more on that type of reinforcement. Is it a kind of gauze/cloth sticked with glue (hide), like sometimes inside the thin violin plates? Or you use cyanoacrylate straight to ebony for reinforcement? Thank you
  24. The known cut of the violin woods is the quarter and slab cut. https://www.google.com/imgres?imgurl=https%3A%2F%2Fmedia.springernature.com%2Flw785%2Fspringer-static%2Fimage%2Fchp%3A10.1007%2F978-3-319-92796-1_5%2FMediaObjects%2F340640_1_En_5_Fig27_HTML.png&imgrefurl=https%3A%2F%2Flink.springer.com%2Fchapter%2F10.1007%2F978-3-319-92796-1_5&tbnid=D_yHQNNqhn7cqM&vet=12ahUKEwiTtrve2sfqAhUT-hoKHfv2A3kQMygBegUIARCSAQ..i&docid=TH2XEeTc9yjJmM&w=785&h=514&q=violin back tone wood slab cut springer&ved=2ahUKEwiTtrve2sfqAhUT-hoKHfv2A3kQMygBegUIARCSAQ Herron Allen at his book notices " bridge must by made of spotted maple,neither too hard nor too soft, the grain horizontal...". What kind of cut is the violin Bridge? Is there only one way? An example is here http://schuster-stege.de/Das_Holz_E.html Picture is more helpfull, so, if I can give an example: Is this a kind of bridge cut or am I completely wrong? Also, are there suggestions for European sellers of wood for bridges (untreated and high quality Bosnian maple)? Thank you very much all for your time
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