Oded Kishony

Members
  • Content Count

    6173
  • Joined

  • Last visited

  • Days Won

    4

1 Follower

About Oded Kishony

  • Rank
    genralissimo

Contact Methods

  • Website URL
    http://kishonyviolins.com

Profile Information

  • Gender
    Male
  • Location
    Central Virginia, USA

Recent Profile Visitors

20407 profile views
  1. Good job Don, you’ve managed to slander Stradivarius’ name with your snide, fact free, sneering innuendos. Congratulations
  2. In my experience instruments with higher plate weights/stiffness are more challenging to play but often have a greater range of tonal colors. I guess it's time for my annual rant..... I pay attention to weights and tap tones and like to get within what I consider an acceptable range based on the s.g. of the wood I'm using. The quality of the sound of an instrument depends on not only the frequencies of the radiated sounds, but as importantly, the relative amplitude of the frequencies. Then there is also the effect of the stuff between the ears that is critical as well. Oliver
  3. “it’s only a violin” I.e. not a sacred relic..... oded
  4. Yes, this wedge is used to level a 'step' in the plate. It's easier to visualize if you think of getting the two sides to first line up, using your fingers, then inserting the wedge, effectively making one leg a little longer than the other. It works, even if it doesn't seem obvious. The over sized hole is on the lower thumb screw, on the knurled side, to allow the towers to 'rack' a bit, otherwise they would always be perfectly parallel and you couldn't correct the arch. Oded
  5. a couple of points: after very carefully lining up the crack (dry, no glue) I glue the cleats in place. This holds the repair in place when I later apply hot glue on the varnished side. I sometimes loosen the upper screw a bit and ‘pump’ the glue into the crack and then reset the screw, always checking for alignment. I use 3x5 card stock for the paper at the base of the pillar. To speed things along I put a dab of very thin hide glue on the plate and use ca glue on the pillar to get an instant bond without introducing ca glue to top wood. I like using the magnets, despite t
  6. I got my magnets from K&J Magnetics. https://www.kjmagnetics.com/proddetail.asp?prod=D84PC-BLK The thumb screws, both brass and nylon can be purchased from an industrial supply like MSC or Grainger https://www.grainger.com/product/GRAINGER-APPROVED-Thumb-Screw-4NHT8 or on Amazon https://www.amazon.com/Knurled-Head-Thumb-Screws-Machine/dp/B01729GGR2 or nylon ones at Home Depot https://www.homedepot.com/p/Everbilt-8-32-x-1-in-Nylon-Knurled-Head-Thumb-Screws-2-Pieces-26388/202209622 Oded Kishony
  7. Would your measurements reveal improved responsiveness? Did you check for that feature? OK
  8. I've tried various versions including an off center motorized twirling device clamped to a cello bridge. It made a huge roaring racket. Didn't seem to help the instrument very much (didn't hurt it either) I met a vioinmaker, years ago, who connected a violin to a radio via speaker driver with a stick glued to it, touching the side of the bridge. He claimed that when he first set it up he had to crank the volume all the way up to get any sound but over time he was able to reduce the volume setting significantly and the instrument worked very well as the 'cone for the speaker. Or you coul
  9. This photo illustrates how you can use this clamp to align a crack that has a 'step'. Notice on the right side of the crack is a narrow wedge that pushes against the screw shaft effectively pushing down that side of the crack. To glue the pillars in place I put a dab of thin hide glue with my fingertip on the surface, let it dry a bit and use ca glue on the pillars that are surfaced with paper (I use 3x5 card paper). Oded
  10. I use this flanged nylon knurled screw and a brass version with the corresponding tap. The lower screw is used to pull the clamp together, so the hole on the left is slightly oversized to allow for some degree of movement and the opposite side is drilled through and tapped. The upper part, drilled and tapped on one side, is used to spread the clamp.
  11. I've developed a clamp and procedure for this that works very well. The shop made clamps using hardware that costs apx $0.25/clamp plus scrap maple two drill bits and one tap. I use plastic covered rare earth magnets instead of clamps because they are light weight and clamping pressure is only vertical (no torquing from clamps). The plastic prevents scratching and glue does not adhere to it. Magnet clamps can be a little tricky to control. I 'park' the magnets alongside the cleat then slide them in place, lifting the one that goes over the cleat. If you get the magnets too close th
  12. To discourage the bridge from warping after being straightened, I make a thin solution of aliphatic resin (wood) glue and soak the bridge for an hour or so after it's been straightened (using MD's method), I then wipe the bridge with a paper towel and buff on a piece of cloth or very fine abrasive.
  13. The same is true for some organic dyes such as madder, the purpurin fades immediately but after that the color is very stable.
  14. Those that know me are probably not too surprised to see me chime in on this topic. ;-) I have long (perhaps too long) advocated for the idea of voicing instruments before varnishing, (but perhaps after sealing) with the instrument 'in the white'. I've been developing a methodical system for accomplishing this which is based on the reciprocal or bi-directional relationship of the surface of the instrument and the strings. Simply put, the strings drive the surface in the same way that the surface drives the strings. In practice this means that when a string vibrates it creates variou