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Found 3 results

  1. I don't know if this is typical or the fault of the much discussed USPS "slowdown," but yesterday I received both July and August issues of The Strad. :-( In any case, in the one with Two Set on the cover (arrrgh), there's a letter from someone trying to argue with an article Hargrave wrote on string angle/force some time ago, and they had Roger respond and nicely set the letter writer straight. :-) (actually, on the higher saddle, and it's possible effect on string force on bridge) Your thoughts?
  2. So this morning I planed a blank for the nut entirely without problems with beautiful perfectly smooth faces. I then decided to plane a blank also for the saddle (with the same plane but a different piece of ebony) and just could not do it at all. Whichever direction I planed there seemed to be a bit which was against the grain. Eventually I resorted to sanding the surfaces smooth. What is the reason for this and is there a solution?
  3. On my new Chinese "experimental" violin...I noticed the saddle is painted on. 1. Why? (Other than a time saver?) 2. Will this cause any problems over time? 3. How difficult would it be (for a skilled luthier of course ) to put in an ebony saddle and would it be worth it? 4. Off topic, but related to the violin in question: The ebony 'protector' (what is that called? Does it even have a name?) to the button is also painted on (it is a Maggini copy after all, lol). While that doesn't matter one way or the other, given my druthers I'd still prefer it to be real. How hard is that to put on?