Jump to content
Maestronet Forums

David Stiles

  • Posts

  • Joined

  • Last visited

1 Follower

Profile Information

  • Gender
  • Location
    Sydney, Australia

Recent Profile Visitors

1578 profile views

David Stiles's Achievements

Senior Member

Senior Member (4/5)

  1. I could be wrong but as far as I can see, the pegs in the picture the OP posted have raised gold sections, possibly oval? My diamond inlays are flush with the ebony. Anyway, I like mix & match with a light coloured chin rest or tailpiece. I find having everything ebony a but much.
  2. I chose the same gold diamond tailpiece for my last violin, but I have pegs that match better I think. Has boxwood chin rest.
  3. Yes, I can see that Maniikara by itself is not for Archery but OK for violin bows where bends are within the elastic range. I have laminated a single carbon fibre tow to each guitar brace to stiffen them up a bit and combat cold creep. I did consider putting one each side of a bow that had too much lateral flex.
  4. Just to clarify, I do not want to be able to cold bend. When I noticed it occurring, I saw it as an issue with certain timbers that may make them less desirable for bow making. It seems that Pernambuco has an advantage in this regard.
  5. Thanks, yes, I have seen this. Good for taper chart however I am still looking for a camber chart.
  6. I think this is it: untitled (knutsacoustics.com)
  7. The Stagg book shows a well-made unit consisting of temporary frog connected to a steel cable and a terminal fitting that fits the head mortice. I'm a bit embarrassed to show mine...For my first bow, I knocked up a makeshift version that hooks over the frog and have not yet felt the need to improve it. I have to fit the frog first, then drill a small hole where the head mortice is going to be. This hole accepts a steel pin which the VB chord loops around.
  8. I assumed you were offering to measure density however if you meant measuring camber, I am definitely interested. I have been searching for a set of numbers to make an old style camber template but cannot find anything.
  9. This is the right question. I had naively assumed bends were permanent so I have done some testing. My pernambuco appears to revert to the original shape after a day or two. Manilkara bidentata (Massaranduba, Abeille, Bulletwood) no so much. I gently cold bent the bows sideways, which is easy to see. Manilkara is still bent after a few days. It has been been very hot & Humid in Sydney recently so that would effect the results.
  10. I measured the dimensions & weight of the timber before cutting blanks out. I can't imagine it would be easy to measure finished bow. Would be interesting though.
  11. I tried a piece of Ipe and found it very splintery. is the typical or did I get the wrong stuff?
  12. Good to know that Abeille can achieve this. Gives me encouragement to keep trying. What is the camber like? is it more central than contempory bow as fiddlecollector mentions?
  13. Luckily, my stock of Massaranduba has a density of 1050kg/m3 which is typical of pernambuco and a MoE of 25GPa which is much higher than pernambuco. With these figures, I should be able to make a bow with smaller dimensions than typical pernambuco dimensions. In reality, I end up with dimensions similar to good pernambuco; definitely not clunky. Trying to work out why I can't get it a little smaller/lighter. only need to loose a couple of grams.
  14. I have a book by John W Stagg who worked for W.E. Hill & Sons. It gives dimensions to make a template for camber and for graduations. I have found that with my timber, graduations need to be slightly oversized from his figures or the stick ends up way too flexible. I think he is assuming top grade pernambuco for his figures. The stick is tensioned with a 'hawser', where graduations are finalised to get the stick to pull up straight. The need for small adjustments in camber becomes apparent at this stage. Rodney Mohr's livestream videos are really valuable. He gives some figures for graduation which seem a better guide to me than the book ones.
  15. MN has recently had a lot of Bow ID but not much on bow making. I have made a few violin bows over the last couple of years and have just been spending some time making comparisons with a view to figuring out how I can improve my bow making. I am comparing my best two Pernambuco bows, my best two Massaranduba bows with a really nice gold-mounted JS Finkel bow as a benchmark. My wife is the violinist and I am listening. The Finkel has been her only bow for 20yrs. All bows have very similar balance point and not much variation in camber. My bows seem to be nicely playable but some are not as stiff as her liking. Aside from differences in weight, stiffness and playing dynamics, we are both able to hear differences in the tone they produce. Firstly, both my Massaranduba bows do not sound as clear as the Finkel. I think this is due to less high frequencies being produced (might be wrong). One of the bows is similar stiffness and heavier than the Finkel, the other is less stiff and lighter. Secondly, my Pernambuco bows both sound brighter than the Finkel. They are both less stiff and a little lighter than the Finkel. I guess it is not a big sample, but I am trying to make sense if what we are hearing. Can I assume that the differences are a function of the bow timber; is it the case that Pernambuco is simply brighter than Massaranduba? Or is it the way I have approached using the Massaranduba; should it have a different camber perhaps? Are lighter bows generally brighter? Because they are less stiff, my Pernambuco bows have a little less hair on them so I wonder what effect this has on tone? Would that explain the being brighter than the Finkel? By the way, Massaranduba I have measures as higher Speed of Sound, much higher Modulus of Elasticity and marginally lower Density than my Pernambuco. That is confusing me too, as I don't seem to take advantage of this in terms of producing a lighter bow. Too many questions here but I hope it stirs some general discussion around this.
  • Create New...