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  2. It looks like a very nice English violin of the period, more in the style of Chanot than Paul Bailly ... pity the varnish isn't original
  3. Paolo's Blog is great! I think it's important not to get terminology mixed up - the bow doesn't have a sound, it's a means of producing sound. Recently we had a very important bow recambered - it had been given a modern 20th century camber and we returned it to something closer to what the maker (early 19th century) would have done. The sound it produces on a violin has changed quite radically, and yet it's the same piece of wood. The resulting change is to do with the way the bow contacts the string, and the fact that the spring is now more forgiving.
  4. Today
  5. I put pictures of my Widhalm violin up for you

    Bw. Jacob

  6. I read that Paul Bailly worked in London for a short period so I assume this chap could have worked with him at some stage but I cannot find anything in my reference books under Charles Bird. Any thoughts on the violin itself?
  7. umm... different... instrument
  8. I think you might be confusing the Viola and the violin. It was the Viola from 1779 that had he cyclops scroll, but that grew a new eye (Picture). I added the Violin from 1814 at the request of Antero, so he could compare it with his violin. The violin was really filthy, and I cleaned it first with "Super Nico" and Wiener Kalk, whatever that is called in English, and then with my "camphor cleaning" stuff.I have since wondered if a craquelierte varnish can ever be "transparent", and why one should even wish a varnish to be "Transparent". Seems easy, a couple of coats of shellac would do the trick.
  9. I had a similar case. Found it quite convenient to soak out the bass bar and use it again. Takes one or two days of keeping the paper towel moist.
  10. Wouldn’t this mean that contours of height above the rib surface would be more accurate, assuming one corrects the deformations?
  11. Has anybody yet said here that the first thing you do if you find your stolen property for sale somewhere is to call the police?
  12. Fantastic restoration. Great job on the eye. Was the violin finish cleaned up with your camphor cleaning solution? If so, it really does a great job of "washing it" without altering it. It's quite amazing how the old varnish is still funky and patina'd , unaltered looking, yet at the same time, looks clean enough to eat off.Great job!
  13. Yes it is! What a wealth of information is shared here! And charming writing as well!
  14. Just today I had three different students play three different bows, in addition to their own bows. Two are new-to me-bows, Old factory German things, inexpensive and good for what they are. All three students correctly noticed that two of the three bows were heavy, a little bit more difficult to Control, And powerful but uninteresting sound. All three loved the third bow And even the various parents commented immediately on the difference in the sound. The third bow was one of my own very nice French sticks. I think the original question can only be answered “yes” Perhaps the why can be a subject of discussion, but the fact that the material used in the stick is significant in the sound is a given. Otherwise people would make bows out of anything.
  15. A good friend of mine who makes very fine instruments gave the differing rates of shrinkage and expansion as why he did not want to use CF pins or CF neck reinforcements. I suggested that necks are grafted and if the reinforcement and the wood eventually tore each other apart, then a neck graft was a simple enough remedy. He agreed that the neck was fungible, but that he still would not use CF pins and rods. I have found them to be quite excellent when it comes to keeping necks from dropping, putting a pin in the heel, but don't think that violins need neck stiffeners. If it flexes, replace the fingerboard.
  16. I'm enjoying seeing this come together. Thanks for sharing! What is the M5 of the back if you don't mind me asking?
  17. If you were in a military training unit the instructor would yell at you: Keep your s**** together! Violin restoration is combat. If you run away by some cracking noises....
  18. I’ve soaked out a bass bar once and reused it on a modern violin. It worked out OK, but I won’t be doing that again.
  19. For the first time in my life do I wish I could pick boogers, but ah too late! Nowhere else in MN did anyone provide this sage wisdom.
  20. Wouldn't sealing the endgrain of the neck & head block minimize this ?
  21. ? ? ? Assuming you're using hot hide, just wait 15-20 minutes until the excess is about the consistency of thick snot, & peel it off. In the shop, we used to call it "picking boogers."
  22. I glued up the sound post side to give this plate more stability for removing the bass bar tomorrow. Because it's my first 2 minutes of gluing panic, I smeared a bit too much on either side of the crack, so I'll be scraping off the excess this week. Jacob is right in saying this is not a particularly terrifying repair, but being my first I was plenty nervous, especially when you hear those cracking sounds popping that top off!
  23. Remove a bass bar? Even if the violin would be put in pieces as much that I had only one strip of top wood with bass bar sitting on it, I'd remove it putting it on a soft surface on my bench and plane it down with a thumb plane. But wait! Why do this before glueing the violin together? Only if the arch of the adjacent pieces would not fit at all I would remove it. Rule number one in restoration: make the most urgent step first then go to the next most urgent step. Hope I saved you one hour of drive.
  24. Jacob you got over 7000 posts! I'm sure you have helped a lot of people and I bet those you helped deeply appreciated it. Problem is, there's no "like" or "love" button on these posts. Don't ever think your help is not appreciated. I don't know if this thing will turn out good, but if it does one of my 8 grand kids will end up with it and hopefully along with it a love for the skill of playing it.
  25. Jim, the guitar seems to be a completely different animal. Heavy necks seem not to support plucked sound. So guitar makers invented all sort of laminations to form a lighter composite material to solve the problem. In violin making we don't need this. The only consideration seems to prevent warping which might result in that the pitch lowers. (Much more for cellos than violins anyway) Just from experience I noticed that necks are more stable if both the maple neck and the fingerboard have a light hollow scoop and are therefore glued with some tension together. But I have no real explanation why this should be structurally more stable because this pinch of tension shouldn't change too much. Or, maybe moisture changes which are the cause for all warping, can't act on a tensioned neck as much as on a a neck without internal tension. Just a guess. For cellos it is more crucial because the root of the neck can warp causing the fingerboard to drop towards the top. I think @David Burgess is glueing a feather lengthwise into the neck root to prevent this.
  26. Thanks Andreas- Seems like I did 500 hours of reading and youtube before ordering a sacrificial fiddle to practice my butchery . I got the impression form all that reading that a plaster cast should be done at least to have a proper cradle for excavating the bass bar. If I didn't do a cast, how would you setup for removing a bass bar? I know if this is your profession, speed and efficiency are a must for profit and customer care. I won't have that issue in the immediate future. FWIW I really appreciate those who take 15 minutes to help struggling amateurs. There's no violin luthiers that I know of outside of an hour drive from where I'm at in southern Indiana.
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