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Found 15 results

  1. In recent years I have had to deal with the resetting of two messed up necks (following M. Darnton's very well written explanations on the subject) and other various alignment issues. After struggling a bit (I am still very much an amateur at violin restoration) I have gradually evolved a method of being able to hold the body and neck in the position(s) that I require. A sort of "alignment cradle" if you will. While I have seen all kinds of helpful pictures and explanations on every subject under the sun here, I wondered why I have never seen much on the subject of how to hold a violin f
  2. Hi, I’m brand new to repair/restoration and I hope you all don’t mind helping me with a newbie question. I’m trying to make my first cleats to shore up a crack repair, and I am literally giving myself a headache trying to figure out how to cut them out of this spruce I got. The first question is - I need to cut my stock as in photo 2, am I correct, and NOT as in photo 1? And then, I mitre off (what is now) the end grain to a 45 degree angle, and then split off each cleat from what is now my long skinny stock using a chisel, and what is now the end grain becomes the TOP/bottom face of m
  3. Hope you´re doing great! I´m a Beginner Maestronet user, Beginner Violinist, Beginner Woodworker and future Violin Maker (not fair to call myself a Luthier just yet), so beginner everything... Today I come to your aid to help me restore this Violin Coffin Case I got for 5 dollars equivalent! in Argentina. The Case is well worn and needs a new lining and interior everything (which I´m not terribly clueless about but if you have any tips I will definitely appreciate them), the main issue it has is that is doesn´t close flush on the left side, it stops way before it would be acceptable
  4. Here is a really interesting Winterling violin that I had restored. It retains its original fittings, which is particularly cool because Winterling developed his own style of peg. I couldn't get the photos of the restoration to upload, but they can be found here.
  5. Hello all! I was hoping to seek some advice from this community on an upcoming restoration attempt I will be beginning. As a long time violin player, I recently rescued a ca. 1920s-1930s German "factory violin" from the trash. I have always toyed with the idea of attempting to build a violin or guitar and this seems like an opportunity to get some "free" education and experience. I am aware that a violin such as this is essentially worthless and many professionals would say that it is not worth the time/money put into it, but I have the time and access to the tools to make me conf
  6. Hello everyone, This is a photoset of my violin, an antique from 1880s Germany (or possibly the German-speaking part of what is now the Czech Republic). As you can see, it is rather large all around, with beautiful flamed-maple back and ribs and a gorgeous red varnish. It's extremely heavy, and I've gotten so used to it that some of my professional friends' violins feel like toys in my hand. Even my viola is significantly lighter. It's not incredibly obvious from photos, but the scroll leans back quite a bit further than a normal violin. The pegs are custom viola pegs because violin
  7. It is strange that I am here in Japan where Japan paper is easily available in all forms but I never seriously thought about using it for restorations. Long time ago I heard from a restorer in Germany that in his opinion there is nothing better to reinforce cracked ribs instead of using studs or parchment. Any other uses? Anyone with experience? How does it compare to other materials?
  8. I always get asked what happened to my violin... and the answer is I do not know! It was like this when I bought it and it doesn’t bother me because I think it adds character and an identifying feature. No crack, just a surface abrasion of some sort. Any theories as to what caused this? I wish I knew because I am very curious of a person, haha. Is this damage anything I should be concerned about fixing/restoring? My luthier didn’t think so but I’m not sure if this can even be restored if I’d want to in the future? Thanks!
  9. Hello there, I'm a new member, but I've used threads from this forum as an information source many times before. I'm a Danish cellist with a lot of hobbies, one being restoration of old violins. I'm rather new to it, though, and have only repaired one violin yet with a nasty sound post crack, so I need to gain a lot of experience. I picked this violin up from a luthier's shop window in Schleswig, Germany. He told me it's a 200 or more years old violin from Mittenwald. I asked why the maker didn't use flamed wood for the neck when the body seems to be of rather nice
  10. I have finished cleaning and setting up and adjusting an old probably German/Bohemian violin (the one I asked help identifying in this other post), and now I'm debating moving to a more hairy task with it: Varnish restoration! The violin has some scuffs and dings, but two that concern me are the ones on the lower bout bass side where a piece of it is actually chipped off, and on the back where some very aggressive shoulder-rest use seems to have worn through the varnish (please see pictures). The value of the violin is inconsequential, this is a work of love and for t
  11. I submit to you, my sister's cello. It has a couple open sound post cracks and at many places, the edges are flush with the ribs. I don't exactly know what will happen when the top comes off, but the thing obviously needs some work. It's a small cello, 7/8 size or a lady's full size. It has been hypothesized that it's English. My sister says someone once told her it looked like William Baker. In any case, it was purchased for not too much money. I suspect that a full restoration might cost more than the initial cost of the instrument. If you guys look at it and tell me i
  12. Hello, I am curious how much will it cost to do a arching correction,cracks cleaning and reglue, chest patch. Cause I have a violin that needs a professional repair. However, there isn't any workshop near to my place. Therefore, it will be great if i can get some opinions here. I have attached some images below.Thank you! http://i63.tinypic.com/28in6og.jpg http://i68.tinypic.com/2eol7hd.jpg http://i66.tinypic.com/i43jgw.jpg
  13. My dad brought home a 1/4 size bow for me from his trip to the Skinner's auction. It's an adorable little bow. I recently did a double chaval on the frog of a 2/4 size but this bow is even smaller. This one didn't need much work just a new tip, slide, wrap, thumbgrip and a ridiculous about on straightening and camber. To give you an idea of size I took pictures of the head and frog next to a quarter. Old tip New tip Frog had to have a new slide, and the ferrule reshaped. The button was covered in scratches like it had been chewed on. Does
  14. In light of the other thread in which Oberlin was discussed, I figured I'd start one about Oberlin by itself. Was just wondering who was going, and are you on the violin, or the bow side? Seems we always have a thread about it afterwards, but haven't seen one before. Maybe Jeff or David can chime in as to availability. I do know that the bow side of things has been a little sparse the last few years. If anyone is interested in bow restoration and repairs, then you should contact Jeff H. as there seems to be a world of knowledge over there. They actually put on little demonstrations for t
  15. Hi all, This excellent crack repair article really helped me out recently when a cello came into the shop with soundpost and bass bar cracks along the full length of the top. The repair work I do is generally guided by the Weisshaar book, so it was great to read some new (to me) material instead of the just referring to the same passage I've already read again and again. I was wondering if the maestronet community would be interested in compiling a thread dedicated solely to links of articles devoted to repair and restoration (of course only articles that are intentionally made available to