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2 hours ago, HoGo said:

I guess you want the heel button stay in the same place WRT back so you could only adjust the neck to higher angle adding tapered shim (would have to be glued to heel as it would end paper thin on one end) or just one "half" shim in the upper part (a'la NY neck set - sorry Jacob :P). Tightening the screw would create firm contact at bottom near heel and at top via the shim. I don't think the very little empty space in center would affect tone in any way, though I'm sure there would be folks swearing they can hear a difference.

Lowering angle would require either removal of original wood at top or adding thicker shim at bottom resulting in more open gap at neck button.

Well, if it is like that, I'd also think there shouldn't be much effect on the sound. However, if I look at the contact points of the neck of the Engleder, I see that the chalk is gone only at the fingerboard/top end of the heel, indicating that the neck sort of sits on that side, without contact over the whole neck heel surface. I would expect that to have some sort of effect on vibrations, but maybe I'm wrong. The whole idea behind it, I think, is that the neck remains adjustable without any other modification but a turn of the screw. In that case whole neck heel contact cannot be present.

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10 hours ago, jacobsaunders said:

Yesterday, I spoke with a fellow Maestroneter on the ‘phone. He bemoaned how people were only posting pictures of junk on the forum, and no nice or interesting instruments. Next time he rings me up, I will point out to him that if one posts pictures of a beautiful instrument, the discussion degenerates into one about bloody truss rods at the drop of a hat

Be glad this thread isn't yet flooded with third-rate gentleman´s jokes :rolleyes:.

What a beautiful instrument, it is always good to see such perfect things!

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On 4/7/2021 at 10:47 AM, jacobsaunders said:

When I wrote a thread about Alois Engleder of Budapest last year, I claimed that he was in the sphere of influence/social group of Johann Baptist Schweitzer in what later became Budapest. A very kind colleague sent me some pictures of a lovely Schweitzer Cello from 1832 today, which is also in a very clean state of preservation. It also has it’s undisturbed patent adjustable neck. I find that the Cello underlines what I said above, about their personal conections. The neck mechanic is very similar, although they are always a bit different in details, but please compare. It also gives me the opportunity to demonstrate why I get ratty when the ubiquitous Saxon boxes with the “Schweitzer 1813” labels (before he even moved there!) routinely get described on Maestronet as “Schweitzer violins”. I will probably have to link to this thread the next time that happens.

Scweitzer Gal corner block.JPG

Schweitzer Gal label.JPG

Jacob - my sincerest apologies for the guitar talk. Are these linings butted up against the square edge of the block, or are they let in a tiny bit?

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