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  2. That makes sense, thank you. I would never buy a bow like this, but I asked the question regarding other folks who might have acquired one. and it is quite possible to be direct without being rude. It is even easy to be polite without being rude.
  3. To translate this into understandable words for those being affected by European Directness, many period players of "transitional", "classical", "Biedermeier" or whatever name you might give them would be very very sad seeing these style of bow being vandalized. From a practical point of view I had never problems to sell an open trench frog bow, if 19th or early 20th century to glad musicians, always enjoying their music happily.
  4. Jacob you must have some personal problems going on in your life to make you be so rude. I hope you find a solution to them quickly.
  5. Ive seen some tie thread or even wire around where the ferrule usually goes to hold the hair in place. But in my experience the hair stays put fine as long as the maker cut the hair channel well.
  6. We are of this world to repair violins/bows, not to „improve“ them. If you don’t want an open trench bow, you should buy a conventional one. Only an arsehole buys an antique object to change it to suit their vain notions.
  7. Replacing the entire frog seems like too much expense, unless adding a ferrule and slide is more expensive. But having the hair held in place consistently should improve the bow, otherwise why do it at all?
  8. Today
  9. I think one thing to keep in mind is just because music involves a symphony orchestra doesn't make it 'classical'. John Williams is a movie music composer, not a classical composer. He's good at what he does but it's sad when people start confusing movie music with classical. I personally prefer Bernard Herrmann. His Concerto Macabre for the movie Hangover Square was much better.
  10. Maybe you're asking me? I drew the cut outs around the scroll myself. Inspiration from Maestro Sora.
  11. Still no time to make violins... but thinking of violins and varnish, in the middle of the night I can (our balcony is facing south), while Näcken spelar fiol
  12. They do move at a tremendous speed - really eery.
  13. I always use plexiglass. With a scribed centreline it’s really accurate for centreline etc cut it with a fret saw, or bandsaw
  14. Open trench bow frogs have been entirely replaced with "normal" frogs, with no improvement in "Performance" whatsoever, which shows where the no-brain issue lies
  15. I do know him. His name is Christian Zens but he has always been difficult to contact. I haven't seen him for some time now (2 years?). I will see if I can find any other contact information besides that on the website.
  16. I don’t think the bows are anything special, I’m afraid, but they might play ok if rehaired and straightened. I’m no expert but I think they are contemporary to the violin and also student level. I’d be pleased to see photos of the violin...
  17. Besides working with Viotti in developing his bow, perhaps Tourte also worked with Fourier?
  18. I think the way Davide is using mode information is pretty on target, again another well done video. One of the most important things you can learn from this is where to hold and where to tap to get the right information response. Pay close attention to his flexing and range of motion in that flexing I think the addition of the microphone to amplify the response is very important in that what we are listening for is a "clear" {as is the same pitch is heard true in succession} percussive thud that does not emanate any "ringing" tone or long decay in general. The mic amplification lets you really hear it. So, until the entire thing is put together, you're making bongos.
  19. This post is from ages ago and the original post was erased. So, I have no idea what you are talking about. Ask Ernie who started this post.
  20. I believe the Tourte dimensions reflect a linear change in the area moment of inertia as one travels from nut to tip. The camber represents the way the stick would deflect if it started straight and was subject to a pure bending at one end. Both of these principals can be used to predict the diameter and camber of the bow. And when the predictions are compared with typical Tourte bows, they match very well. However, I doubt the early makers were thinking of such things when they made their bows. It is pure speculation on my part, but the geometry might have been the result of some esoteric ideas they had, and the methods they used to bend the bow. If you are interested in a mathematical derivation, send me a private message.
  21. How many of these bows would have had sides and ferrules added? Seems like a no-brainer way to improve bow performance.
  22. Thanks for letting me know this; I’ll look at pictures of his and others’ bows and try to identify this if I ever see it.
  23. Here is a picture of a bow that reduces diameter from the button to the thumb position from 8.5mm to 8.25mm and remains at 8.25mm till about 12cm when it increases to 8.7mm at 14cm from the button and the diameter begins to decrease toward the head at 19cm. I have commonly seen this, not on just this bow.
  24. Not as much as would be the case if his body outlines truly derived directly from the mold shapes. But the don't really. Strad is making the old way. His outlines don't come straight from the mold, but instead are fitted in relation to the sides only after they are removed from the mold, pinned, twisted, pushed around, and then clamped to the board. The molds do end up standardizing the outlines. They remain much more varied.
  25. Lathe turning, used by some in post-1945 bowmaking, is only for waste stock removal.
  26. Strad's use of internal molds and patterns was a modern standardization move away from the older methods. Maybe Strad had shelves stacked with shaped top and back plates, rib assemblies, necks etc. and they just grabbed interchangeable parts and assembled them.
  27. Yesterday
  28. Love the wide flame on the one piece back. It is rare to see flames that wide!
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