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Everything posted by Goran74

  1. Thank you for your suggestion. Back was deformed and corners were open. Also needs new fingerboard.
  2. 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.
  3. 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/>
  4. Yes. Making a new frog without underslide.
  5. 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?
  6. Thank you all for your answers. It was clear for me.
  7. 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
  8. 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
  9. Thank you all so much for your advises. Your answers were clear. I will stay as you say on my mic, recorder, FFT program.
  10. Thank you for your answer. I you like to use them in conjunction with other tests in order to have more reliable data for every the instrument I examine or make. For example, I do not have a Lucci (much more because I use Regh s methods). An oscilloscope can give me more information on the oscillations of the bow rod (a process like when hitting the tip on palm, the osc. can presentate the results).
  11. Thank you for your reply. Of course I know your measurement methods with microphone that you suggested in this forum (many thanks). I would like to measure strings and bridge oscillations during playing. Also, bow stick oscillations, after taping. Then plates oscillations. I have successfully used your method on speed of sound. Like I said, I never used an oscilloscope and that is the reason of experimentation. If you say it is not useful, I have to listen your words.
  12. Hello. Does anyone have experience with cheap oscilloscopes (under 100$) Chinese made? There are plenty of them at Amazon eBay etc. How do they work and how are they placed on the instrument? I do not have the budget for good quality and I have no access to something good. I also have no experience with oscilloscope measurements on violin, so someone can share some tips. A DIY solution is also possible for Android phone or tablet. There are many videos that propose such solutions but I don t know what type of resistances to use in order to built one. Thank you very much
  13. Thank you all for your suggestions. Your experiences with microscopes were very helpful.
  14. Thank you. Which magnification would it be right?
  15. Hello. I am trying to find a microscope for wood, treatment, varnish etc examination. Would you have something to suggest? Since it is for amateur use, I would seriously consider the low price (ebay etc.). Thank you
  16. If it is bone, you have to look at casein resin or the widely known galilth (milk stone). You can fill it with milk stone and then use shellac for waterproofing. Also there are some white fillings for various use. There are white types fillings, waterproof and very hard when dry. Many times are used for carrepairs, before coloring. Also, do not forget the soda + cyanoacrylate glue paste.
  17. Thank you very much for your answer. Parts are all silver. Adjuster, by my calculations seems that belongs to the bow. What impressed me was the elastic modulus (close to good bows) and playability, which as you said it does not match with its method of its production. Also the point of curve is very precisely placed (the German way - Lower in to middle in contrast to French models). The smaller form of that bow seems something made on purpose and not by cost reasons.
  18. Hello. This bow is 72,4 total length, 71 cm to nipple and 21,5 head height. It seems German to me. Since it is a bit shorter than the modern's bow common length, would it be considered as 4/4? Any more infos for that model? Thanks
  19. Thank you for the information. Really helpful.
  20. Thank you for your answer and I wish health. I never made a cello bow again (but I have made many violin bows) . Can you please propose me something because I do not have a good model to work on?
  21. Excactly that I mean. I would like to know if there are some deflection measurements of good cello bows. But, even I play violin for years I cannot tell excactly the difference as would do the jig for defelection measurement. Very generally you can decide if the stick it is hard or harder that something else, but at final gradiation you cannot judge properly only by hand (I think).
  22. Thank you. Here there are some numbers for violin bow for example. Is there any similar for cello? Stroup caliper measures at inches if I am not wrong, and the device measures stiffness under load.
  23. Hello. I do not have any master cello bow(s) to measure, but do you know any resources where I could find more about cello bow stick deflection/stiffness? Thank you and I wish health to everybody
  24. Hello. I read older posts on bow making but since they were a long time ago, I think new tools come up. I use the Stanley 9 1/2 for making the stick as 1st plane. Which plane would be good as second, for details, rounding and final dimensions? (Nielsen 101, Ibex flat sole, veritas pocket, kunz 101, herdim flat sole finger plane 18mm etc?) Thank you
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