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Geigenbauer

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Everything posted by Geigenbauer

  1. I am reading some older threads about recording and microphones. Because this one discusses home recording I wanted to add this recent video from Ray Chen. He did a recording in his home with the help of a remote producer and some very nice equipment. I found this interesting to watch.
  2. I am following this discussion and trying to learn. Just wanted to point out that the STRAD 3D material has longitudinal CT scans of the three violins for comparison in the "image - 3violinsCT-compare" folder. These scans appear to be a bit off-center (the end pins are not visible). The top scan (not sure which violin it is) appears to show a bit of sinking at the bridge and maybe (?) some bulging?
  3. 102 and 103 next to each other for comparison.
  4. Just my two cents: I use lab glass beakers for cooking varnish and cover them with aluminum wrap if I want a lid. I would personally not use an Erlenmeyer flask because I think it would make it difficult to deal with foaming/frothing. It would be difficult to stir the varnish in the flask and the taper toward the top would make the froth rise very fast (I think).
  5. The question rang a bell... When you look on the website of "The Strad" you can find an article termed "7 tips for perfecting purfling". Jan Spidlen describes how he creates "scarf joints" in the C-bout purfling.
  6. Rue, I found your picture here: https://www.akg-images.com/archive/-2UMDHU8IX0AD.html The description says "Christian Ferras playing on his Stradivari “Le Président” from 1721". I could not find the instrument on Tarisio though. Not sure if it also known under a different name.
  7. Looks French to me. But unusual wood. Definitely not pernambuco.
  8. Looking great Don. Thanks for sharing!
  9. I think this software was also mentioned in the previous thread. I have not tried it. http://www.magicprobe.net/mag-ic-probe-software-1/
  10. Although I am apparently lacking common sense then, I will say that I have tried both: carving plates by hand as well as designing plates in a CAD software and cutting them on a CNC. IMHO both ways are not easy...;-)
  11. I will add my two cents: I believe great looking and great sounding violins can be made with quite different approaches (or anything in-between): - They can be made by makers that use all hand tools as well as by those that use the latest power tools/technology (including CNCs). - They can be made by those that cook their own varnish and make their own pigments as well as by those that buy commercial varnish and pigments. - They can be made by those that read and embrace the latest science as well as those that rely solely on experience and intuition. In the end, I think it is the result that counts. When I see a great looking instrument (antiqued or pristine) made by a single maker anywhere in the world it is my assumption that it took the given maker years of study, practice, trial and error and lots of hard work to get there. There are no easy buttons. I have great respect for anyone who is able to make such instruments no matter how they do it. This is based on my own limited experience as an (amateur) maker who keeps his work well hidden from public view ;-) Re the original topic: I use a power jointer to flatten backs/tops and establish a square edge. I then use a No.8 jointer on a shooting board to do the fine work before I glue using parallel clamps.
  12. Looks like one to me. It is probably a high-end model with a near perfect energy to heat production response relationship. $2K plus. * just being jealous because I don't have a nice microphone...;-)
  13. Just guesses: First line: no idea Second line: Geigen... Third line: ....an Forth line: der Isar 1860
  14. This problem made me think of this cute little animal.. I want the egg-laying woolly milk sow.
  15. I came across this old thread while looking for information about one of my own bows. I bought it new >15 years ago and never had any work done on it. I am including some pictures. I hope this will be helpful for anyone else looking for information about these bows.
  16. Ok thanks. Than it probably makes no sense to cut them on my cnc and send them due to shipping cost.
  17. Why not make it solid gold fittings to go with the gold mounted bow? A bit of extra bling bling wouldn't hurt... But seriously, I am a fan of boxwood.
  18. I use an X-acto knife (with a straight edge blade) to cut the walls for the little "lining mortises" on the corner blocks. I then use a small chisel to cut down the back and along the bottom to remove the wood. Because the X-acto blades are so thin I have not had an issue with splitting of the blocks even when cutting all the way down to the bottom of the mortise. I am only an amateur maker so I don't know how the experts would do this...
  19. This is my latest batch. I used genuine amber from Kremer fused at >300C. I then combined the fused amber (cooled and broken up into pieces) with linseed oil at much lower temperature than what was required for the fusing. I added a bit of turpentine once the mixture had cooled down a bit. Dries in UV without problems. Nice (but not very intense) color.
  20. I recently used some CNC cut backs for the same purpose. Trying out my new Tom Croen purfling tool. Where are you located? I am based in the US.
  21. I agree with Jim. Thank you Andreas for sharing. Please keep us informed about future results. I would also be interested in how the experts here interpret the change in the FFT spectra before -> after.
  22. Some more options from my workshop...
  23. Very nice! Thank you for sharing Manfio. I have never made a viola myself. Since one of my sons decided that this is his instrument of choice it is definitely on my list though. I will bookmark what I learn on this thread for later when I actually try making one.
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