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FiddleMkr's Achievements


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  1. Just to reiterate; I thought maybe that a common varnish maker may have existed in Europe whose varnish turned dark with age, and many of the luthiers used this “brand” of varnish. And this darkened varnish may tell you something about the age of the fiddle (or even where it was made)? And I gather from what you said that the answer is “sort of”. At least this darkened layer is common…? The second part of my question that so far hasn’t been answered is; do “antiquers” apply a layer on fiddles to simulate this, to make the fiddle look older than it actually is?
  2. I thought maybe that there was a known German (luthier) made varnish that turned dark with time, but I guess not. Another reason for asking is that I have a Guarneri copy that had a damaged area on the spruce top periphery, outside the purfling , about an inch long. Everyone, including me, who saw it thought it was burned. I decided to repair it, because it affected the value when I was trying to sell it. I then decided to repair it and found that this 1 inch by 3/16” spot was really a filler that had turned black. I made a matching piece of spruce and glued it in there, but the point is that apparently it is not uncommon for substances to turn dark with age. I don’t think this fiddle is particularly old. It looked to have a precarved neck and scroll on it. (The scroll is too perfectly symmetrical.) Another thought. Is this dark brown layer something that “antiquers” do to make a fiddle look older than it actually is?
  3. this is one of mine, nothing special, with a cutout to step over the edge (of the spruce). I imagine you’ll have to get a bigger dowel and longer carriage bolt for a bass. The dowels are 1-1/8” dia. and leather padding glued on, on these.
  4. I have seen this “build up” on other fiddles, but certainly not all. For example, the posters I have of golden period instruments don’t have it, but they are all Italian. Is this a feature only found on German fiddles?
  5. Thank you. what is the dark brown residue (do you think) that is adhered to the sides of the pegbox and scroll?
  6. What is “hinterkopf”? are you referring to the dark brown layer of “goo” that looks to be stuck on top of the varnish?
  7. Is the wear on this fiddle manufactured? A better way to ask may be; How much of the wear and tear on this fiddle is manufactured and how much of it do you think is actually from being played and handled? (A very subjective question so please elaborate.)
  8. I remember an article some time ago that pretty much insisted that A Stradivari must have been more or less an overseer of a shop that employed many master violin makers, his sons included. Two things that I remember which supported this claim was the volume of instruments produced with A Stradivari on the label and (number 2) the fact that instruments of known masters at that specific time are (much) fewer. The instruments of Rogeri are fewer during Stradivari’s most productive years, for example. This makes sense to me but I am only an amateur fiddle maker without experience handling golden era instruments. What are your thoughts on this idea? Do you think that Stradivari was mostly an overseer of a group of master violin makers or (instead) was he (and his sons) supermen with hand tools?
  9. I think I would try and making a new bridge and remove more wood under the G and D strings than the A and E. I don’t think that it works this way exactly but you get the idea. There is a thread on here about bridge carving that gives the details.
  10. I’m no expert, and it is hard to judge from just pictures, but I think you will be safe tinkering with this fiddle. It doesn’t appear to be anything special. And I agree that the archings are low.
  11. I don’t remember where I bought my reamer but I bought my last end pins and pegs from international violin in Baltimore. I’m pretty sure they also sell reamers, along with a pretty intensive array of other tools. (The holes for the pegs and end pins are the same.)
  12. Haha! I can imagine that a professional sharpening service would have this, mechanized.
  13. We are talking about the same thing. I haven’t tried the hardwood to roll the jig on, but doesn’t it limit the amount of the stone that you can use? At least the jig that I have has the wheel close to the plane iron edge in order to use a lot of the stone. I can imagine a longer jig that would work well rolling on hardwood. https://levoite.com/collections/newest-design/products/levoite™-honing-guide-sled-chisel-sharpening-jig?gad_source=4&gclid=Cj0KCQjwxeyxBhC7ARIsAC7dS3-I559cuEToHrxKaX8ajUDOKNRwU3rB6NNROJVVOBTp0MThm-ERKZwaAkmREALw_wcB this is not what I was thinking of, but it is the same idea.
  14. Thank you. I had seen this before (it was probably yours) but I had forgotten. I like this idea. I use the jig with a wheel, and the wheel gets covered with swarf rolling on the stone.
  15. I have been assigned to a comment that wasn’t mine, but regardless I am glad that I got to see your setup. It looks to me like an easy way to put a hollow grind on the back side of a gouge, and the grind is parallel to the edge. Then you can sharpen the gouge freehand. My setup, where I have a tool rest parallel to the stone, and I make 2 flat areas on the backside of the gouge, is my answer to not having a way to make a hollow grind parallel to the edge. Thanks for sharing this.
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