edi malinaric

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About edi malinaric

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  • Birthday 07/24/1939

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    Cape Town

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  1. Importance of grain direction on maple backs

    Hi Stavanger - I would carve out the pocket with my biggest gouge and then cut a patch from the grain extension on the side and carve/scrape to fit. Fiddly work but should work OK. Anisotropic could also work. Run the band-saw down either side of the fault to remove it and then prepare and make the joint. Then for the life of the instrument you'll have makers arguing about how that off-centre centre join affects the sound. Or to put them out of their misery make another join so that the joints are symmetrical about the centre of the plate. Arrange it so that each outer section carries a complete f-hole. That should puzzle them even more. cheers edi
  2. Importance of grain direction on maple backs

    You too? In 1964 I got caught on the town square. It ticked for about 20 hours before passing away. I've still got it - the gold has tarnished - it's a reminder that you get what you pay for . Sometimes less - rarely more. cheers edi
  3. A pleasant surprise

    Hi All - on Sunday evening Rose and I attended a friend's 50th wedding anniversary. Johnny and I shared the same school bench in 1950, played in the school orchestra (he played the violin, I the cello). After qualifying as a lawyer he left South Africa and worked in the UK. We met again at the 50th reunion of the 1957 class. Our wives liked each other and he bought a house just over the hill from us and returns to Cape Town for 6 months of the year. He once commented that with his size of hands he should have played the cello. I replied "So why don't you buy a cello and start playing again? Your bow hand is fully trained and that's 60% of the battle" He now has a cello in Cape Town and another in the UK. A happy chappy. I attacked his bridge with an angle grinder (thanks David), lowered the string height at the nut, bashed the sound post slightly further from the bridge using a heavy table knife and adjusted the after-length. Things improved dramatically - an easy thing to achieve if you knew how poorly the cello sounded before we started. I'm now under pressure to visit them in Devon to do the same with his cello in the UK. Anyway, for his anniversary get-together he had arranged for a trio to give us an hour of music. He also asked if he could borrow my violin. Of course, I've been eager to hear how it sounded for years. The concert went off well. The pieces were well chosen. The cello and violin were so well matched that after the concert l pleaded with the players to work up the Brahms Double Concerto. Maybe, maybe. The violinist's violin was wonderful - a powerful bass, nicely balanced across the strings also when double stopping, and clear and full in the upper register of the e-string. The cello was an equally wonderful instrument. The closing piece was Monti's Czardas played on my fiddle. She introduced the violin and it's maker - I cringed a bit with embarrassment. Her violin had sounded so good... Monti's Czardas wasn't a piece that I would have chosen to showcase my instrument. Would the G-string have enough authority? would the strings respond? the e-string harmonics??? The piano introduced itself, she lifted her bow, I stopped breathing, the opening note burst forth and I felt joy, it carried all the authority, audience silencing power that one could wish and maintained that power over the full register. It was as nicely balanced over the strings as her own violin.The tone was a little cotton-woolly for the first third of the piece but then opened up and sang to the end. When Brian Lisus flexed the top he muttered "this one will play very well", I didn't believe him. Brian - you were right - I apologise for doubting you. The violinist said that she had enjoyed playing it and only regretted that she couldn't have had it 2 - 3 weeks earlier to "open it up more" I examined her instrument. Ten months ago she had travelled all the way to some little place in the States to take delivery of it. Ann Abor - anyone know where it is? Apparently an Apprentice Model by Joseph Curtin Violins. Anyone heard of them :-) (just joking) The cellist had commissioned his cello from a maker in Dijon, France and he had been playing it for 10 years. I mentioned that I was busy making a mould for a 7/8 Guadagnini cello. He asked if he could play it when it was finished. Life is looking good. cheers - and thanks to you all for just being here - a very happy edi
  4. Neck Overstand

    Goody - that would make varnishing under the fingerboard a piece of cake. - cheers edi
  5. Dimensions and shape/profile of linings

    Hi Carl1961 - don't push the guy. His work shows a few shortcomings in the scroll and lower bout areas. :-) cheers edi
  6. Dimensions and shape/profile of linings

    Hi Delabo - we must get together. My idea was to use that metal with a memory - retracted through the endpin hole.. cheers edi
  7. Dimensions and shape/profile of linings

    Hi Conor - never, ever to deny oneself of the pleasures of the gentle application of brute force. Not only must one still wack each block loose with a hammer but now you have the extra enjoyment of trying to get the top and bottom mould pieces loose as well - especially if you have been careless with the glue brush. Doubling the amount of enjoyment. I'd love to be the fly on the wall when someone was trying to bend pre-shaped linings. On my first dinghy I pre-shaped the gunwhale strips and then spent two days of futility trying to attach them to the hull. Finally I scrapped them and glued on rectangular sections and did the shaping after the glue had cured. Ouch! Now I know why fitting and shaping the bass bar felt so familiar. Imagine fitting 3.8m long bass bars. Built two of those dinghies - a total of 4 gunwhale strips. Good apprenticeship for violin making. cheers edi
  8. Dimensions and shape/profile of linings

    D****t David - who told you that I was working on one of those? - except I didn't think of using the f-holes. cheers edi
  9. Dimensions and shape/profile of linings

    Hi Delabo - as most things in life, there are. I'm a retired mechanical engineer and I freely admit that I am completely biased towards making jigs for assembly - making little problems into "no problem at all" Cons. Just give those critical points of caution that I listed some thought ;-) Making those 4 joints is extra work - it will add all of about 2 - 3 hours to making your mould. If you don't reassemble the mould immediately after removing it from the garland one of those bolts will fall into the mess on the floor and go missing...(it does that anyway ) If you store the bits loosely in a box, one of the four parts will disappear - guaranteed... If you don't number the parts to show the correct assembly it's a guarantee that you'll always try fit things together wrongly... Pro. Yes, the solid mould can be removed and yes, the rib garland does survive - but - why stress those very young joints unnecessarily? On my bench I have a double bass with failed rib joints - I have been dodging attacking that repair for two or three years now. Can the failure be traced all the way back to the removal from a solid mould? I don't know. Welcome to the world of making huge amounts of very expensive shavings - cheers edi PS: there you are - now you have proof that there are 2 collapsible mould users in the world and the both are happy chappies. My cello mould was built up out of layers of ply so there was no problem with forming the joints. go for it - edi
  10. Dimensions and shape/profile of linings

    Then there is the collapsible mould... Looking at the top of the mould. 1) It is critical that the belly goes this side! 2) It is doubly critical that you fit the outer two set screws about 5mm further in from the ribs than I did. Looking at the bottom of the mould. 3) It is critical that the nuts are mortised and glued into the mould. The mortise and tenon are easy to do on a table saw. The flanks of the tenon have been shaded with 2B pencil to ease the fit. Trim the linings to their triangular cross section before gluing on the back - it's goes a lot quicker and easier. Removing the mould from the inside of the rib garland is a stress free operation - especially for the garland. cheers edi
  11. Dimensions and shape/profile of linings

    Hi with _joerg - naturally, if you are building a viola there is no reason to remove the mould at all. cheers edi
  12. Bernard ..? London labelled violin

    Mmm - must have been a Bavarian maker who set out/carved the scroll somewhere between September and October. cheers edi
  13. Bow wrapping device?

    Mmm Dave - is that a typo? Did you possibly mean 'woolfy' pursuits? Never seen a sheep chase anything - other than ambushing a terrified blade of grass. Hi FiddleDoug - you could be right. Although it was more a case of a sheep in wolf's clothing. He was the most even tempered animal imaginable. The first time we took Chetka to the farm he climbed out of the car and looked around. Head Sheep saw this large white sheep-like animal and confidently approached. C in turn stopped and looked at HS curiously - something new to be considered. HS got to within 2m of C and FROZE - for all of 3 seconds - exhaled a panic sounding snort/bleat, did a rapid pirouette and fled. The flock obediently following - never saw them for the remainder of our visit. The goats were mildly and cautiously interested but kept their distance. The chickens ignored him and carried on as usual. The dogs said hello and welcome. Even our resident flock of Guinea Fowl considered him harmless. The Mountain Pigeons reserved judgement. cheers edi
  14. Bow wrapping device?

    Hi FiddleDoug - many thanks - an interesting afternoon's reading. Now shall I or shan't I? Expand my interests into spinning and weaving. But first I'd have to get another wolf-dog to collect his winter moultings. Chetka - He was a huge furry animal, always ready to climb into the Subaru and come for a drive with us. It was sufficient just to say 'No, you have to stay at home" for him to turn away from the car and watch us drive off. I always chose something at the restaurant so that I could bring something home for him. He had superb manners. He'd sit and wait until it was offered to him. Every time he would first sniff at it and then take from your hand so very, very gently. I still miss him - badly. cheers edi
  15. Bow wrapping device?

    Hi FiddleDoug - don't leave a guy hanging pedaling air - How does it work? I mulled, I thought, I thunked... - do the individual threads come though the hooks and get spun and twisted? If so, where do they come from? How do they avoid becoming a bird's-nest - or is that the aim? If the bobbin is the take up spool where do the individual threads sit? On the boundary of a nearby golf course there are quite a few yellow garden spiders. I have often thought that if one harvested the radial lines of the web... Details, please details... cheers edi