Geigenbauer

I am absolutely not an expert on this but here is what I did: We are in the Northeast and a couple of years ago I had an electrician install a transfer switch and purchased an 8000W mobile generator. When the power goes out, I can hook the generator to an outside receptacle and then switch the house supply from the grid to the generator. It works really well and the generator has enough power for the furnace, air handlers, water pump, refrigerators and lights. This was a much cheaper solution than a fully installed backup system. The downside is that you have to be home to set it up when the power goes out. The generator runs on regular gasoline which I also use for my lawn mowers, so it doesn’t get very old (plus I add a stabilizer). The cheapest solution just for emergency heat may be an indoor approved kerosene space heater. I have never used one myself but have seen them at Home Depot.

Great thread! I decided to start playing the violin as an adult (in my twenties) and took lessons for a few years. Then came a job, and a family…and a long break. I just re-started, and I am taking lessons with my boys at a local Suzuki school. I find that to be very motivating. We can play together and learn together. Great for the boys – and great for dad. I played several instruments when I was a child but never a string instrument and none of them very well. I think it is a major challenge but can be done. I am not giving up. I think a good teacher is indispensable for playing the violin. The differences between right and wrong (e.g. bow-hold) are so subtle that I cannot imagine trying to learn that without a good teacher. I still find it painful sometimes (left hand) but playing regularly (daily?) helps with that. It is worse if I don’t play at all for a few days. Vibrato was also very difficult and frustrating at first. I still smile when I think of the teacher’s comments about “loosening up” a bit while my left hand felt like I had a cramp. I think as adults we should expect to practice the same number of hours that kids do before they start to sound decent. It takes many hours, discipline (which I don’t always have), is very humbling and overall a fantastic experience! Don’t give up.

I am travelling to Europe early next year and bought a Tonareli Cello-shaped Fiberglass Violin Case. It is pretty nice I think. I was able to find one new on Ebay that was almost $100 less than usual because of some minor scratches. I plan to take it on board.

Just to add three more that I have previously come across: Mira Guszow http://www.gruszow-baumblatt.com Susanne Stangl https://geigenbau-stangl.de Elisabeth Stiefermann http://www.franke-geigenbau.de/htmls/team_friese.html

I only work on new instruments but enjoy watching repair videos by Maestro Kimon on YouTube. He explains all the steps and you can also see what tools he uses. There is a separate video on tool used in new construction and where to buy them. https://www.youtube.com/user/maestrokimon

Hi Casey, do you think it would be possible to capture the described effect in a recording and share it? Maybe testing the violin in question vs. a couple of comparator instruments using different microphone positions (e.g. close by, at a distance, in the next room)? Thanks

Thank you, Julian. I am in New England and went to one of their open house in 2018. I believe they have one every summer. You get to try out all their tools and you can visit the production facilities and talk to some of the employees. Snacks, presentations and more. When I was there, they also had a 10% discount on all tools.

Maybe of interest? The author of the videos is using the Grandi Liutai "Cremonese 1715" for his new construction project.

Ok thanks

Thank you Andreas for the reply. I will give that a try.

Thank you David. I will definitely try that. Ordered some shellac from Kremer yesterday...

This sample had thick rosin oil applied after the NaNO2 treatment followed by varnish.

Thank you Don and apologies for not being clear enough. The picture is a test piece and I am planning to use a ground on the instrument once it is ready. Right now I am trying thick rosin oil (Kremer) and David Sora's mastic in alcohol recipe on both maple and spruce under the same varnish. So far the rosin oil looks most promising. I know there are a lot more options of course. I will do a more comprehensive test at a later point. My question was about the final step of smoothing the varnish and getting to a shine.The varnish itself is colored and therefore I am not sure how best to approach this step: Make a similar (rosin based) un-colored varnish and apply this as the last coat(s) for polishing? Use French polish instead (I have never tried that)? Polish using tripoIi in oil or use a commercially available polishing product? I already got a lot of good tips to try but appreciate any additional ideas. Thanks

Again many thanks for taking the time to put all of this together. Much appreciated! This gives me a lot to think about and try out! Will try to find some thin brass online. BTW: I agree on the ketchup. Not sure about the butter... Many thanks also to ctanzio for the advice. I will cook some non-colored rosin varnish next spring and try this for as thin top coat.

Many thanks for taking the time to write an answer. I understand now that there are many options. I naively assumed that polishing would be less complex than the ground/varnish… However, what would you recommend in the given situation as a good starting point? I am asking only about finishing a new instrument (not cleaning/polishing an older one). I am using a linseed oil based rosin varnish (with some mastic) that seems to harden nicely under UV exposure. What would you expect to work well under the described circumstances?