tag:blogger.com,1999:blog-65776294321362020042024-03-08T03:33:38.966-08:00Owyhee Mountain Fiddle ShopViolins in Southwest Idaho. In business since 1996 at the same location. Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.comBlogger272125tag:blogger.com,1999:blog-6577629432136202004.post-1002417041759573382021-08-27T11:38:00.000-07:002021-08-27T11:38:18.294-07:00Hardanger fiddle bridge, modified<p> </p><p>One of the benefits of the pandemic, closed borders, and such is the proliferation of on-line workshops. I've attended many. And, for example, tonight I will begin my time with the Heart of Valley of the Moon, a workshop of Alasdair Fraser's with many other instructors. I've long wanted to attend, but time, money, and a limited attendance have not been in my favor. Now I can join in, from home, at a modest cost.</p><p>Another workshop I have long wanted to attend is the annual Hardanger Fiddle Association of America workshop. Time, money, etc. But this year I did. And got to sit in on a luthier's workshop as well. </p><p>In that, I got to ask questions of bridge design. I have an idea of what to do when shaping a normal violin bridge, but the Hardanger is a different beast. For one thing, the understrings ride across a saddle/nut in the middle of the bridge.</p><p>When I built my Hardanger, I used a blank from Howard Core. The luthiers at the HFAA convention didn't think much of those blanks, but it is a place to start.</p><p>I had seen a few Hardangers in the past couple months, just chance meetings here at my shop, and by then I was interested in seeing their bridges. Significantly bigger cutouts than I had in mine, which makes sense. With a blank, you start with under-sized cutouts and enlarge them.</p><p>So, with some ideas, and a little time this morning to work on it. The understrings are a pain to undo and then thread through again, but it's not that bad if you're careful.</p><p>I don't have a good before photo, but here's an idea of what it looked like.</p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_p2ZOqFMKj_DUy4n97woJeAE89ScE9rqZ7pVLAT2zRwMj99sgFukzBe2E0bs-BQQtn90X7QFq9GNeiMDN_AtuSxtIZjcYF6gYkqD4SoehURDYoNFN18GN5GZBMo_H1Khijz6ZyW3bmPi2/s1212/1+before.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1120" data-original-width="1212" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_p2ZOqFMKj_DUy4n97woJeAE89ScE9rqZ7pVLAT2zRwMj99sgFukzBe2E0bs-BQQtn90X7QFq9GNeiMDN_AtuSxtIZjcYF6gYkqD4SoehURDYoNFN18GN5GZBMo_H1Khijz6ZyW3bmPi2/s320/1+before.png" width="320" /></a></div><br /><p><br /></p><p>Rather solid and clunky.</p><p>And here's the after. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlT91I6aRQOUinM5mokaM8uTYKtoM0yhgwZPUgcz05-z3GuDcvHKPFF1i4KBztOBH4ewehrsUw-mmc00lXm_ALv1Pz_2GSQWfVJRgPbGQ_vIa3W2mBL4VZRiFwEYr8uIOjVXKZkrdB9Jzg/s2048/1+after.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1303" data-original-width="2048" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlT91I6aRQOUinM5mokaM8uTYKtoM0yhgwZPUgcz05-z3GuDcvHKPFF1i4KBztOBH4ewehrsUw-mmc00lXm_ALv1Pz_2GSQWfVJRgPbGQ_vIa3W2mBL4VZRiFwEYr8uIOjVXKZkrdB9Jzg/s320/1+after.png" width="320" /></a></div><br /><p>A bit more interesting. I can't tell yet that it makes much difference, though I think I am getting a bit more sustain in my understring ring. I also think these sort of changes can take a little time to settle in. Or maybe me getting used to playing what is, in part, a new instrument. They do talk back to you.</p><p>It's a work in progress. As is my learning of Hardanger fiddle tunes. </p>Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-69774246484537003782021-06-17T16:59:00.003-07:002021-06-17T17:00:47.013-07:00Violin strings<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieqhbGs2wkfibSgb4ZKi5mh_3SJWJZ97WCN5UVi7gSTnN_gqJ7YtuupGh8uBMmOJbu0_fAnrCO6eREXyRwrKyDi3KSBeGb6sl7pfzbifpE-I3spl3KW8l9JaXQkYyHRxP14tfIz7pm3Vp8/s1376/1+strings+IMG_3945.heic" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1376" data-original-width="1376" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieqhbGs2wkfibSgb4ZKi5mh_3SJWJZ97WCN5UVi7gSTnN_gqJ7YtuupGh8uBMmOJbu0_fAnrCO6eREXyRwrKyDi3KSBeGb6sl7pfzbifpE-I3spl3KW8l9JaXQkYyHRxP14tfIz7pm3Vp8/s320/1+strings+IMG_3945.heic" /></a></div><br /><p></p><p>The strings currently on my fiddle. I have a slight preference for Obligatos. Here, the D-string and the e-string are Obligatos. A few months back, the A-string shredded at the 2nd-finger in 1st-position spot. I didn't have Obligatos on hand at the time, but did have a broken-up, partial set of Evah Pirrazi strings, so that's what the A has been since then.</p><p>The G was starting to shred at the nut, in part because I've been doing some alternate tunings lately -- ADAD and FDAE. I now have a new set of Obligatos on hand. But the D, A, and e still seem ok to me. I have an in-person gig on Sunday. And I also had this busted-up, partial set of Kaplan Amos on hand, which had a G still, so that's what's there now.</p><p>Because I'm cheap. Just like everyone else. </p><p>I used to order in sets in bulk, stock them in the store, because customers would come to me for strings. I'd give them a discount on the suggested retail and install them for no extra charge. </p><p>Then internet sales came along. Now I don't order so many sets. </p><p>By the way, 'suggested retail' now means 'this is the price the manufacturer uses to calculate your wholesale price, but it has no bearing on any price offered anywhere online'.</p><p>I break up sets, selling individual strings to customers who want a single string, but not a whole set. It's something of a service I can offer. So I have incomplete sets around, and, as above, use them to fill in on my own fiddles as needed, as I feel the need to conserve. It's been a tough year-plus.</p><p>Had a customer in today. They had purchased a fiddle from me 15 months ago, for their child. The child's teacher was telling them there was a wolf on the instrument. Where, I asked? Because I couldn't hear one. On the G and D strings. Which notes? No, both of those strings.</p><p>Well, that's not a wolf, but it was something to look into. The teacher had heard something. The bridge was tipped forward. I straightened it so the feet were again making contact with the top. The strings were caked in rosin. I cleaned that off. I thought it was an improvement in tone. Cleaned the rosin off the instrument as well, just to be tidy.</p><p>How long since the strings were replaced? We haven't. And you play a lot? Yes. Getting ready for the big contest now. Well, new strings would be a big improvement, and you'd want to do that soon, so they're settled in before the contest.</p><p>Well, we could go to <local music store> and get some strings. Yes, but I do have strings here, too. Oh, how much? Well $_______. Oh, that's too much. We can get them a lot cheaper on line. Yes, you probably can. I can't compete with big online merchants that sell at near wholesale.</p><p>They then looked up the string set on their smart phone. Do we want light, medium, or heavies? Well, I'd say medium. Ok, thanks. And they ordered the strings right there, standing in my retail area, three feet away from me.</p><p>We talked about the possible need for a bow rehair, but they don't have a second bow and can't be without it right now. I was not interested in pushing the point.</p><p>They left. Didn't ask if they owed anything for the adjustments and cleaning, my time. I would have said no, but it is nice to be asked.</p><p>I just passed my Beatles birthday. One more and I'm at the traditional retirement age. Of course, as an independent business owner, I don't have a pension. I have saved up some money. I will qualify for Social Security. I'm still in decent health.</p><p>After they left, I looked up the price of the strings at the site they had been on. Looked at the price through my wholesaler. Exactly the same, to the cent. The manufacturers have no concern about small businesses these days. That's not a complaint, just an observation. A reality.</p><p>I want to keep making fiddles. I like playing and giving lessons. </p><p>Pretty sure I'm about done with sales of retail objects like strings, shoulder rests and the like. Not terribly interested in rehairing bows sold by music stores or online, bows that have circular mortises which need to be cut properly before the bow can be rehaired, and at no additional charge. It's interesting to contemplate what life might be like, what changes I can make, need to make, to survive.</p><p>Still thinking it over.</p><p>All this sounds like a rant, a complaint, and I suppose in part it is. My customers are great; they value what I do and know, and that adds value to my life. </p><p>I, however, still need to buy groceries and pay the mortgage.</p><p>I cannot fault someone for finding a better price on a commercially manufactured object, such as a set of strings or a toaster. I do the same thing. Brick-and-mortar merchants who insist on selling commercially manufactured objects at X% off the suggested retail price are going to fail, in the most part. We will see more stores, more malls, folding. </p><p>The future for small businesses such as mine, if there is a future, is to make that which is not easily done by factory workers. I have known that for some time. I am slowly beginning to realize more of what that means. Maybe it's like being on the Oregon Trail, where one has to pitch the cast-iron stove out the back in order to be able to finish the trip. </p><p><br /></p><p><br /></p><p><br /></p>Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-3190998350381446412021-06-03T09:41:00.001-07:002021-06-03T09:41:42.775-07:00Weiser Signal American<p> Phil Janquart of the Weiser Signal American interviewed me a week or two ago, and the story appeared in yesterday's "The Fiddle 2021" supplement.</p><p>Every year since 1953, Weiser, Idaho, has been the location of the National Old-time Fiddler's Contest and Festival. Except last year, due to the plague, and this year, the contestants are live, on-stage, but the audience is at home or elsewhere, viewing on line. Folks will be camping in Stickerville, up by the Institute buildings, playing tunes and having fun. </p><p>We, Phil Stanley and I, weren't there last year (no one was) nor this year. We have had the repair shop on-site at the contest since about 2001. Phil is a bow maker, and does rehairs for folks. We don't know what next year will bring.</p><p>Here's a screenshot of the story --</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyASw972fFHjS5KBSdoDo5W3260p-8zCEaoYsHGZUpq8WqzWItfYObZ1LpKzyYoMY7CRCRP1yZvrL9vN6x0gOZ9zJUCmcXoEqCVlsHUAdtNj2Fs-hMkM4Z3Z0LgOMYIwvApSGjPXhOo2pj/s2048/1+fiddle+story.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1321" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyASw972fFHjS5KBSdoDo5W3260p-8zCEaoYsHGZUpq8WqzWItfYObZ1LpKzyYoMY7CRCRP1yZvrL9vN6x0gOZ9zJUCmcXoEqCVlsHUAdtNj2Fs-hMkM4Z3Z0LgOMYIwvApSGjPXhOo2pj/s320/1+fiddle+story.png" /></a></div><br /><p>I don't know if you'll be able to read it from the image. You can go to the Signal American's site and see it and other stories about the fiddle contest. The link is <a href="http://signalamerican.com/sites/default/files/Fiddle%20Edition%202021.pdf?fbclid=IwAR1ma2VN_VctcvUCmlb6NvRKlyLXVQXHF1VfWL4SrGhesiIiY3RY8KRIIRQ" target="_blank">here</a>. </p><p><br /></p><p><br /></p><p><br /></p>Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-88277415298589165872021-05-28T10:46:00.000-07:002021-05-28T10:46:09.964-07:00Jacobus Stainer in Absam prope Oenipontum 16, pt 4<p> Having neglected the blog for some time now, a brief continuation.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia9ZRCAItXiI5MgQ8BIa2R8wX0l_39S7waxSXbjnW24W_dQ6Vmn5j4h9x5NVD1jfyYpMOlNxJeo2t-p3lrZLJnmU-uNtZmn6hkFnptfPhdmUo9VnTDBpp6GOgWFUXnR3egwZcECufhOXj1/s2048/IMG_3101.HEIC" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia9ZRCAItXiI5MgQ8BIa2R8wX0l_39S7waxSXbjnW24W_dQ6Vmn5j4h9x5NVD1jfyYpMOlNxJeo2t-p3lrZLJnmU-uNtZmn6hkFnptfPhdmUo9VnTDBpp6GOgWFUXnR3egwZcECufhOXj1/s320/IMG_3101.HEIC" /></a></div><br /><p>Chalk-fitting the bass-bar blank. The temporary studs help in placing the bar, so that each time it goes back to the same position. They also provide support, to keep the bar vertical, when gluing.</p><p>Once the trimming to fit is done, the bar is glued in with fresh hide glue. I don't have a very sophisticated clamping system, but it seems to work.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuSGpWKbpOYJ4mbilkzWbk054JwhR88_GmXo59HQAsNG7yzaO4icTlGULBDeiv7Om4KEo2ygj_e3xnbp-VDMM_NcgzNaqatA-oBnX8nFlLl-z2DQ-iqWZOGNUyaG9vPszPnZwFJ-e1-ghy/s2048/IMG_3111.HEIC" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuSGpWKbpOYJ4mbilkzWbk054JwhR88_GmXo59HQAsNG7yzaO4icTlGULBDeiv7Om4KEo2ygj_e3xnbp-VDMM_NcgzNaqatA-oBnX8nFlLl-z2DQ-iqWZOGNUyaG9vPszPnZwFJ-e1-ghy/s320/IMG_3111.HEIC" width="320" /></a></div><br /><p>Letting the glue set overnight, I then remove the clamps, clean away the temporary studs, and then lay-out heights.</p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdtjEYW-mWy1pqTnwq-y4OWGDJMZAH6xNo55jSFL9_Bb5JL_uu4FB-ywdDwGRBIO2RXXHOjVmhrzZldl-lMijOMFuS2uK88WOfYgBP7zfXFmezHMy5ZnsUDnjy4AY1w-7FBUnrY849ycWx/s2048/IMG_3121.HEIC" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdtjEYW-mWy1pqTnwq-y4OWGDJMZAH6xNo55jSFL9_Bb5JL_uu4FB-ywdDwGRBIO2RXXHOjVmhrzZldl-lMijOMFuS2uK88WOfYgBP7zfXFmezHMy5ZnsUDnjy4AY1w-7FBUnrY849ycWx/s320/IMG_3121.HEIC" width="320" /></a></div><br /><br />Sketch in the curve of the bass bar and start removing overhead.<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkOzjPOdQMsVGK3UYUXMofchtVmxF_N15LAwKpQA7Joal57zqjz40YzXgFJa2o_GOPT51anEiRyKpuHH6eJfkBDG3oY5osVGEZxxE4D0hMpRgjd9IBBDP9jNkyCrE6Z8vxa3Ra4XRhgwm-/s2048/IMG_3122.HEIC" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkOzjPOdQMsVGK3UYUXMofchtVmxF_N15LAwKpQA7Joal57zqjz40YzXgFJa2o_GOPT51anEiRyKpuHH6eJfkBDG3oY5osVGEZxxE4D0hMpRgjd9IBBDP9jNkyCrE6Z8vxa3Ra4XRhgwm-/s320/IMG_3122.HEIC" width="320" /></a></div><div><br /></div>Once I get close to the line, I switch from the gouge to finger-planes. I try to make it smooth, somewhat even, and so that the top is still flexible. Again, not terribly sophisticated, but seems to work.<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn5VRP42xDA_GUdCCQAOHi2DWAEKPrDFA49u7Z3RWLbejcio7RDQVJnHnhYED7pvX3vd4NwXqdGD32AKx5xAKal62t7bmYRlwMb8Ob26iaIkt-sJ5Y-Vf-4L-Oa7cL20b_NQ5zHw6_PpHi/s2048/IMG_3137.HEIC" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn5VRP42xDA_GUdCCQAOHi2DWAEKPrDFA49u7Z3RWLbejcio7RDQVJnHnhYED7pvX3vd4NwXqdGD32AKx5xAKal62t7bmYRlwMb8Ob26iaIkt-sJ5Y-Vf-4L-Oa7cL20b_NQ5zHw6_PpHi/s320/IMG_3137.HEIC" width="320" /></a></div><br /><div><br /><div><br /><p><br /></p></div></div>Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-18857452712694626352021-05-17T12:30:00.002-07:002021-05-17T12:30:39.471-07:00Some varnish progress, 15-1/2" viola<p> </p><p>I think I'm about to call it good on the color for this one. Never really happy with my varnish, but at least by changing things every time, I get a spectrum of instrument colors.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCokVuspDJIbPk7T6Ul3vkGsOQ4YDnTMlk6P9-QP8xDFi_dE-8f2VN1WJT-OFDhx7Env2hyphenhyphenkONAveNbtMcRYQouMbSyKONNeXQ8W8gxKQgjrLmI0uHCfIh-eIdnMD31kRbSqbVv4npPBY0/s3866/IMG_3637.HEIC" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3866" data-original-width="2282" height="505" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCokVuspDJIbPk7T6Ul3vkGsOQ4YDnTMlk6P9-QP8xDFi_dE-8f2VN1WJT-OFDhx7Env2hyphenhyphenkONAveNbtMcRYQouMbSyKONNeXQ8W8gxKQgjrLmI0uHCfIh-eIdnMD31kRbSqbVv4npPBY0/w298-h505/IMG_3637.HEIC" width="298" /></a></div><br /><p>And I change the scroll a bit each time as well. </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRYGp-f-Ed3GpoisSbf0pqFwZ8BOnm2fkd29ZKgvB2bj0RfwVQZDc5NFvhvA3b7JeF2qnCtBkUk40vC-_L-6V5XSoqg-kZLozm5kJBMFE-X6RXOe1-7UlTuaBAXkT-di8JtthG8fLM_1Ga/s3875/IMG_3638.HEIC" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3875" data-original-width="2509" height="473" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRYGp-f-Ed3GpoisSbf0pqFwZ8BOnm2fkd29ZKgvB2bj0RfwVQZDc5NFvhvA3b7JeF2qnCtBkUk40vC-_L-6V5XSoqg-kZLozm5kJBMFE-X6RXOe1-7UlTuaBAXkT-di8JtthG8fLM_1Ga/w306-h473/IMG_3638.HEIC" width="306" /></a></div><br /><p><br /></p>Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-78707244583731146132021-03-30T10:55:00.000-07:002021-03-30T10:55:19.510-07:00Jacobus Stainer in Absam prope Oenipontum 16, pt 3<p><br /></p><p> With the cracks glued and cleated as I thought needed, time to fit the new bass bar.</p><p>First, layout in pencil. We want the bass bar to be under the foot of the bridge, 'east to west', in a sense as measured from center-line, or from the edge of the f-hole, or some place to hook the tape-measure, as it were. I also don't want it to overlap the upper terminal hole of the f-hole. With these two constraints, there is usually not much choice. We also want it angled relative to the spruce grain, for strength purposes. Lining the bass bar along the grain is a great way to crack the top.</p><p>The problem with old tops is that they are not always normal. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3gkjVj5DUY16x9VQhk1FQS_10H8huZwFXTQb66pCHwuNkIi0wLNuzXJ7qBlt399vJmmz4FVVoo8jRzizYXqY3jI16Kfbbh1g6sOxUMtEtWqeSJNOsVnJf8burQyedrmTaoz5jWpeIZTCc/s2048/IMG_3037.HEIC" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3gkjVj5DUY16x9VQhk1FQS_10H8huZwFXTQb66pCHwuNkIi0wLNuzXJ7qBlt399vJmmz4FVVoo8jRzizYXqY3jI16Kfbbh1g6sOxUMtEtWqeSJNOsVnJf8burQyedrmTaoz5jWpeIZTCc/s320/IMG_3037.HEIC" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div>Here are some of my pencil marks. The line connecting the notches of the two f-holes is nominally where the bridge would sit. But you might see that this line is not perpendicular to the center line, meaning at least one of the notches is not in the right place. What's the right place? A normal stop length, these days, is 195 mm. The line below the line connecting the two notches is at 195 mm. So in some sense, neither one of the notches is where we would think they should be. <div><br /></div><div>And yes, the top is normal size. 14 inches. Mixed measurement units, it's how we do things in the US.</div><div><br /></div><div>Unfortunately, the notches are convenient and easy to see from the outside, when positioning the bridge. Or repositioning some time in the future when it comes off or is replaced. </div><div><br /></div><div>I'm not sure where the bridge will end up on this fiddle. But with a ruler, I can put it at 195 mm if I want to, even if it doesn't line up with the notches. And with an inspection mirror, I will be able to see the pencil lines inside, to help with soundpost adjustments, that sort of thing.</div><div><br /></div><div>For placement, right now I don't really care where the bridge sits. I can work with that later. On the other hand, we think we should know where the bridge is so we know how long to make the bass-bar, how far it extends from the bridge both north (towards the neck) and south (towards the end-block). </div><div><br /></div><div>Pencil, calculations, guess, and make a couple marks. </div><div><br /></div><div>Next to plane some spruce down to thickness, with the growth lines vertical to the top, again for strength. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha_JWovZ8rYv6jlT5y-h9Y3usmdLofCFFcaNvQawr90iYllOboSz9wwN9BxyCHFgarwFrOoCqW1BHu3kBXf807RRb9Or0_9YU2QCkDrU1na_H6D6kZX-Ddf7L4RnkcvsCHZNGwNHOvaW6H/s2048/IMG_3038.HEIC" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha_JWovZ8rYv6jlT5y-h9Y3usmdLofCFFcaNvQawr90iYllOboSz9wwN9BxyCHFgarwFrOoCqW1BHu3kBXf807RRb9Or0_9YU2QCkDrU1na_H6D6kZX-Ddf7L4RnkcvsCHZNGwNHOvaW6H/s320/IMG_3038.HEIC" /></a></div><br /><div>With the thickness correct, I cut it a bit longer than my carefully calculated length.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikp1UrfnHGLoAPD7hLZvT_ZGd2HBfg0Yjl__gfWO6t78p4i2ZoN-Z-mGLqz6v3mSYtE0NZmFSS1e2jAqn4zP4KpMZwUahHuJZD8JbkfYkoqhUU16grFuKUc3_x97YKCw1dPv9l1ASJi12U/s2048/IMG_3039.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikp1UrfnHGLoAPD7hLZvT_ZGd2HBfg0Yjl__gfWO6t78p4i2ZoN-Z-mGLqz6v3mSYtE0NZmFSS1e2jAqn4zP4KpMZwUahHuJZD8JbkfYkoqhUU16grFuKUc3_x97YKCw1dPv9l1ASJi12U/s320/IMG_3039.jpg" width="320" /></a></div><br /><div>Next, rough-fit the bottom, and when that is close, temporarily glue in a few cleats to help place the bar in the same place for final fitting. It needs to fit extremely close the entire length. And that will take longer than what I've done here.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-citfJIz0PSGVs9VTPA_sF_aqyZhOqRu7ffL7fpzHRZGbFwElSeGIRprwjo2YqI-U0bXXmOWEqWSsnl-vDJvoBy_hoM7up0hhn5ULMQ5agy2HNlAABJeN_GgGJio8v3E9mekKF00v2KEQ/s2048/IMG_3042.HEIC" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-citfJIz0PSGVs9VTPA_sF_aqyZhOqRu7ffL7fpzHRZGbFwElSeGIRprwjo2YqI-U0bXXmOWEqWSsnl-vDJvoBy_hoM7up0hhn5ULMQ5agy2HNlAABJeN_GgGJio8v3E9mekKF00v2KEQ/s320/IMG_3042.HEIC" /></a></div><br /><div><br /><div><p><br /></p></div></div>Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-60088019900007752432021-03-24T14:19:00.002-07:002021-03-24T14:19:26.927-07:00Jacobus Stainer in Absam prope Oenipontum 16, pt 2<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW2t05qZAxi98AWY2UPAkdHUaCkEmhnibL6A3dlFAARr8lEr6-D0REr_VDsjrQLc7DpMQDHtg0E9pVDsLj8Fhj3Xw76o0N12ZOVQHonhzIhsaEb5jlGnnZR5cMZ7AtfOvsR_Rjnzf5fFmb/s2048/IMG_2961.heic" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW2t05qZAxi98AWY2UPAkdHUaCkEmhnibL6A3dlFAARr8lEr6-D0REr_VDsjrQLc7DpMQDHtg0E9pVDsLj8Fhj3Xw76o0N12ZOVQHonhzIhsaEb5jlGnnZR5cMZ7AtfOvsR_Rjnzf5fFmb/s320/IMG_2961.heic" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">So out with the old integral bass-bar. Kinky grain right around the area of the upper terminal-hole, so I have to approach it from many angles in order to not dig in too deep.</span></div><p></p><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO0kRcLJmzwY3Gu5TyTwv-172r-FOfhwCVlYjkXA2bED57WxTSgJgN1a4lBtxTwFmglY-ogm5HppGoDciRv66LlJiHE3Dgmj_E1-XrqBu5TLmlNZUF46u481G75eozex3pb56VV_uBoqUh/s2048/IMG_2963.heic" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO0kRcLJmzwY3Gu5TyTwv-172r-FOfhwCVlYjkXA2bED57WxTSgJgN1a4lBtxTwFmglY-ogm5HppGoDciRv66LlJiHE3Dgmj_E1-XrqBu5TLmlNZUF46u481G75eozex3pb56VV_uBoqUh/s320/IMG_2963.heic" /></a></div><br /><p>The area is so kinky & twisty, in fact, that the original carver decided 'to hell with this' and left it quite thick. 6-1/2 mm, when the normal top thickness here might be around 3.</p><p>Cleaning up the top with thumb-planes and scrapers, I discovered an original repair. This little section of wood was pulled out, somehow, during the original carving, then glued back into place, prior to the (original) final graduation of the top. It is open along one side and will need to be re-glued.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBm3duiZqvr0eSEJSwTOfR5rMFiVt9HSXSJGmiC0OnVdww6_CGFOSbL-WjHFRT5b9K00FkI23DY6Ur45KxkREpXlJ_Jhe3jFIpH9p6RUnDCTyyr8t7VBHyDfHUW96Ux7EoNmlIXnaVeSHI/s2048/IMG_2966.heic" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBm3duiZqvr0eSEJSwTOfR5rMFiVt9HSXSJGmiC0OnVdww6_CGFOSbL-WjHFRT5b9K00FkI23DY6Ur45KxkREpXlJ_Jhe3jFIpH9p6RUnDCTyyr8t7VBHyDfHUW96Ux7EoNmlIXnaVeSHI/s320/IMG_2966.heic" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">In the course of the planing and scraping, I had to remove the original cleats holding the saddle-crack together. The crack came open, so here we are, good enough to start thinking about the new bass-bar, so I have re-glued the crack, and installed 3 new cleats.</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyWSD-H9OjRXT7orHm_mcgXoW9NHtQysernAIqUKsb_D080adUlva-uADyewmY6QsehRnvdEMde_IGpMFCgR5ozj5cWJh_jQm0HgvW9ibc7Lc9W2DHIUKQJcDCduTbsjTg9fIAtvA1H1G/s2048/IMG_2971.heic" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyWSD-H9OjRXT7orHm_mcgXoW9NHtQysernAIqUKsb_D080adUlva-uADyewmY6QsehRnvdEMde_IGpMFCgR5ozj5cWJh_jQm0HgvW9ibc7Lc9W2DHIUKQJcDCduTbsjTg9fIAtvA1H1G/s320/IMG_2971.heic" /></a></div><br /><p>There is also a wing-crack to repair and the open crack at the neck, but I don't like to do too many cracks at the same time. I'll get them after this sets.</p>Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-69601204318064628172021-03-22T13:48:00.002-07:002021-03-24T14:04:20.199-07:00Jacobus Stainer in Absam prope Oenipontum 16, pt 1<p> Another old factory fiddle, well-loved by someone who played it years ago. </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTwX3SJ8zsn3JMLZe333BM-ccvKpV9f4ZAS29QIHEiVEpvud4TnXkKaE8pYJRinbKr8FuImc9Dk1vwkqXEGmqhfCdVZdxLh5d97drf24X741fBjacoEVx3316v-6JKFIsXVTfr4udEc4Fg/s2756/back+inside+IMG_2937.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2756" data-original-width="1141" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTwX3SJ8zsn3JMLZe333BM-ccvKpV9f4ZAS29QIHEiVEpvud4TnXkKaE8pYJRinbKr8FuImc9Dk1vwkqXEGmqhfCdVZdxLh5d97drf24X741fBjacoEVx3316v-6JKFIsXVTfr4udEc4Fg/s320/back+inside+IMG_2937.jpg" /></a></div><br /><p>Wanting to see it in the hands of someone who would love it again, as well as freeing up closet space, the owner sold it to me. I didn't pay much. A rather plain fiddle, mostly in good shape, but it will take some work before I can feel good selling it.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-zGVWa0161Tdtp28ST0RY3W_nfZvjeBaTxhvOC31t1SyyZy5VOG4Ct2-V8hn5VlJ96VbWtm4Isl7sPwfEqiEgS-C_gyXBvB_8cZTDs2blmD6Dpu3hKdPjwM6esklT_c-xCqWPNsaLHou3/s4032/IMG_2938.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="1612" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-zGVWa0161Tdtp28ST0RY3W_nfZvjeBaTxhvOC31t1SyyZy5VOG4Ct2-V8hn5VlJ96VbWtm4Isl7sPwfEqiEgS-C_gyXBvB_8cZTDs2blmD6Dpu3hKdPjwM6esklT_c-xCqWPNsaLHou3/s320/IMG_2938.HEIC" /></a></div><br /><p>The fingerboard is not ebony, but hardwood stained to look like ebony. And it is crooked on the neck, overlapping the finger-side. On the thumb-side, the stain is also worn away.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfsYHzO_FBpCd3UxJkNiU0niFMpqv3bXbjkC-_25yuTRjshoHLvl0ITPe7MyvFbetyeC0MGH8D0PhFy8XMSuWOwIlOmYZ4LQjOE-9QLJf7gTDnMD8K1-R8L3z-rDVjRab-kEs0KHGPyJF5/s3024/IMG_2939.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2830" data-original-width="3024" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfsYHzO_FBpCd3UxJkNiU0niFMpqv3bXbjkC-_25yuTRjshoHLvl0ITPe7MyvFbetyeC0MGH8D0PhFy8XMSuWOwIlOmYZ4LQjOE-9QLJf7gTDnMD8K1-R8L3z-rDVjRab-kEs0KHGPyJF5/s320/IMG_2939.HEIC" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSZhWJDTdED0xOx2d7e9A-eG5wSdbMCXUVZdViPmpBAOr3ukbbELvhG1EEeMqi6d-D9si3vsmSHcVsjwNc1PfWDt-ctbvJQXOZ1YPnqD0ZoOJo93erJ4pfXrQ-USlMRfp2Ay7uDNaV1Lez/s3024/IMG_2941.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1744" data-original-width="3024" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSZhWJDTdED0xOx2d7e9A-eG5wSdbMCXUVZdViPmpBAOr3ukbbELvhG1EEeMqi6d-D9si3vsmSHcVsjwNc1PfWDt-ctbvJQXOZ1YPnqD0ZoOJo93erJ4pfXrQ-USlMRfp2Ay7uDNaV1Lez/s320/IMG_2941.HEIC" width="320" /></a></div><br /><p>It was a little loose as well, and came off easily. A generous glue channel in the fingerboard and in the neck itself.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG3bnB5480-QRLeFpWr4j1Mw6m4cU7heW793gSb04fz3D43qR-A8hAPlA0Jm_089863rO5Yr50nbRLMVg13nr8YUA3nC9H-oYtZeu63tO_bJlmWlK_E4uLlBh2-L_UINuu4y8o8aBsrRrC/s4032/IMG_2942.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG3bnB5480-QRLeFpWr4j1Mw6m4cU7heW793gSb04fz3D43qR-A8hAPlA0Jm_089863rO5Yr50nbRLMVg13nr8YUA3nC9H-oYtZeu63tO_bJlmWlK_E4uLlBh2-L_UINuu4y8o8aBsrRrC/s320/IMG_2942.HEIC" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisuFV3avkeGyHlqze2gJrBgugBJYiwS9fNo2lTf_gTCa8EzhI65vQRS7XMnhz3om-SqjvQAqB21EUalGDRiNQ4B-vjCMnc5GtvKM3HAH1NDPlZ8_pjZebKtVk-A1c45yvoKeRdEHfvgAv0/s4032/IMG_2943.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisuFV3avkeGyHlqze2gJrBgugBJYiwS9fNo2lTf_gTCa8EzhI65vQRS7XMnhz3om-SqjvQAqB21EUalGDRiNQ4B-vjCMnc5GtvKM3HAH1NDPlZ8_pjZebKtVk-A1c45yvoKeRdEHfvgAv0/s320/IMG_2943.HEIC" width="320" /></a></div><br /><p>For comparison, when I make a new fiddle, I don't make any glue channel. Perhaps the slightest scraper hollowing on the ebony. One could almost fit sympathetic strings in that channel. I'll fit a new, ebony fingerboard to this fiddle.</p><p>There was a saddle crack, repaired, and a wing-crack, not repaired. I could also see through the endpin that it had an integral bassbar. So off with the top.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEAnbFJmysIy-eGZuWXlwFdf0W-vtKuTDy9uy8LSJmmwrfGpbDEso964BIwwxJNMFMdRVOTwYG07r-ahQeKLQCGAzJroqK0F_y_1Ingj9gjwGZr2uVTS5dgGYI2qUZpVXl53y9ia3thoPe/s4032/IMG_2945.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEAnbFJmysIy-eGZuWXlwFdf0W-vtKuTDy9uy8LSJmmwrfGpbDEso964BIwwxJNMFMdRVOTwYG07r-ahQeKLQCGAzJroqK0F_y_1Ingj9gjwGZr2uVTS5dgGYI2qUZpVXl53y9ia3thoPe/s320/IMG_2945.HEIC" /></a></div><br /><p>Note the cleats for the repaired saddle crack, on the treble side. And the wildly carved bassbar. One can imagine that took a good 15 minutes to shape.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3nWHAGu-WbOlVb3-2FklfVVglWfaQD9SzpQvg5-j253p1LkBepS1BTQg51hlILxX-E36MGIWHpYCxnFPt6LfKaC9zloz6yqAYWr-Ob-Y8CC5tnoUiFeSACTkBfqCiJEOoTBwyHs5NlE4P/s4032/IMG_2958.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3nWHAGu-WbOlVb3-2FklfVVglWfaQD9SzpQvg5-j253p1LkBepS1BTQg51hlILxX-E36MGIWHpYCxnFPt6LfKaC9zloz6yqAYWr-Ob-Y8CC5tnoUiFeSACTkBfqCiJEOoTBwyHs5NlE4P/s320/IMG_2958.HEIC" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKZIuREf4dtZs556e7CMKAuL4sHbi4ZZX4f1RQXHyYL98zNPRcLXYrgnKlXIWnvlT5QmvUFFkJ72tNKIJvZbvkNTURp9WlFofYWbqOp8wlWjGT2F-CBJ0PG5kmpDwt_6ACNwiVWq20YAIW/s4032/IMG_2954.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKZIuREf4dtZs556e7CMKAuL4sHbi4ZZX4f1RQXHyYL98zNPRcLXYrgnKlXIWnvlT5QmvUFFkJ72tNKIJvZbvkNTURp9WlFofYWbqOp8wlWjGT2F-CBJ0PG5kmpDwt_6ACNwiVWq20YAIW/s320/IMG_2954.HEIC" /></a></div><br /><p>The top was roughly gouged, though not as rough as many I've seen.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmTwSf2Q5dTIsl_NaAygjkKEaRVg0epgiimlHr2u0aOTh0cgXWV8TL8nQNdt-6T9Ly7npfT6315b2jdlqWbi6TX0jQv4_gt-TeSRvbwnxcmX-YZMlMtAZkrAleHAVLKUTXdV_DN60DyJ09/s4032/IMG_2952.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmTwSf2Q5dTIsl_NaAygjkKEaRVg0epgiimlHr2u0aOTh0cgXWV8TL8nQNdt-6T9Ly7npfT6315b2jdlqWbi6TX0jQv4_gt-TeSRvbwnxcmX-YZMlMtAZkrAleHAVLKUTXdV_DN60DyJ09/s320/IMG_2952.HEIC" /></a></div><br /><p>And the top is rather thick.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZX2mqcydnrMd24CVllD8qRgQ09Z592qmPKzMSMPbsxIedIu_A27F7AM5WmBr5_WWMX10RTJ3eY29uEAhiA5UkZIo5PEfmu-OX_N2XgQdepK-KWQuZZgAstvDIFFqAcA4u27LeM6yv-S9x/s4032/IMG_2949.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZX2mqcydnrMd24CVllD8qRgQ09Z592qmPKzMSMPbsxIedIu_A27F7AM5WmBr5_WWMX10RTJ3eY29uEAhiA5UkZIo5PEfmu-OX_N2XgQdepK-KWQuZZgAstvDIFFqAcA4u27LeM6yv-S9x/s320/IMG_2949.HEIC" /></a></div><br /><p>I might be around 4mm here, if I thought it needed it. But usually less than that. And about 2.5 in the upper and lower bouts.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1EIvJ2LkP6rf0nm-lmDY_UmSjEvpFDHNf5UrzOAZwjUwngmHvisiQQxQ0cTXGhRWoPXZlcX3kZL_Mfpvuka5ZyL4UbhTXf-jFvXhxz8okoXK9Fc0SNybbfwTftljD9T_YdSUJmujR5Qzm/s4032/IMG_2950.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1EIvJ2LkP6rf0nm-lmDY_UmSjEvpFDHNf5UrzOAZwjUwngmHvisiQQxQ0cTXGhRWoPXZlcX3kZL_Mfpvuka5ZyL4UbhTXf-jFvXhxz8okoXK9Fc0SNybbfwTftljD9T_YdSUJmujR5Qzm/s320/IMG_2950.HEIC" /></a></div><br /><p>So, I think I will take some meat out of this top after gouging out the integral bassbar. It will be replaced with a new, standard bass-bar. Both changes will improve the sound.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgswxw23hHKkVJfrKJPF7XaKFDmkIaTwkSlS4PI4Wu_EESfJc6A8-ZGhycvF-01wh8i7FHq6awtf5tBv1YmtDQcDn4HujP-8HdfBYgYJIPZG1-Anw5tztdXL_1X394hZWew9XjvhIAyFJoy/s4032/IMG_2955.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgswxw23hHKkVJfrKJPF7XaKFDmkIaTwkSlS4PI4Wu_EESfJc6A8-ZGhycvF-01wh8i7FHq6awtf5tBv1YmtDQcDn4HujP-8HdfBYgYJIPZG1-Anw5tztdXL_1X394hZWew9XjvhIAyFJoy/s320/IMG_2955.HEIC" width="320" /></a></div><br /><p>No corner blocks, not even foolers in the bottom corners. I'll probably leave it that way. Not convinced that blocks would change the sound quality of this particular instrument. And it is a fair amount of work to do so. The corners have held together for sometime as-is.</p><p>It's weird that Jacob forgot to add the '42' or whatever after the '16'. That's a joke. Possibly late 1800s, early 1900s. Could be pre-1892, since no country-of-origin on the label, but if so, not by much I'd say.</p><p>The back could use some cleaning-up as well. The graduation pattern was 'make it thin but not too thin everywhere'.</p><p>So, is this worth working on? I never know. It's something I can do when I'm not doing something else. Maybe keep me out of trouble I might otherwise get into. The fiddle will end up being interesting to someone, some time.</p><p><br /></p>Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-58883269817148256972019-11-05T15:52:00.000-08:002019-11-05T15:52:20.612-08:00Horn Frog<br />
This bow came in for a rehair. Not a particularly strong stick, it had a significant warp at the tip end when tensioned. We'll try to compensate for that somewhat in the rehair. It is not a stick that would justify heating and bending. It may not even survive that.<br />
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A Chinese bow with a water-buffalo(?) horn frog. Interesting look. Not one I sold, and this is the factory hair, the first rehair for this bow.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8ODqrqDk4NkScvFIrWetmWO2fonrtSWCBZpCkGSZpbrQbRMn-L8pRLFx07JIIr2UK1SIZ42HyXDOybNs_lP2UV7UUNU3pj-FrAE2gaw6CuQ25C6Oug9Cbbf0T0_14eiEMGYur25Sy-3Yq/s1600/IMG_5780.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1403" data-original-width="1600" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8ODqrqDk4NkScvFIrWetmWO2fonrtSWCBZpCkGSZpbrQbRMn-L8pRLFx07JIIr2UK1SIZ42HyXDOybNs_lP2UV7UUNU3pj-FrAE2gaw6CuQ25C6Oug9Cbbf0T0_14eiEMGYur25Sy-3Yq/s320/IMG_5780.JPG" width="320" /></a></div>
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Here we are with a rounded leading edge on this block. Not a great sign, showing that they haven't bothered to square up the mortise edges, leaving it as it came away from the router.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6GcOWmdyeCeHqcptFBG4hygqm4fBO2hh7WyMQpe51uaofT1fLgk0csxHbW6d7yzjsib19OLJZq-xeK3Qqm7CiR_zv0OLKb8w3kqS3E8QhMI1y4zJen3Xrjf8PEYOkglFBqAir1i_5Jt8c/s1600/IMG_5779.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1047" data-original-width="1600" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6GcOWmdyeCeHqcptFBG4hygqm4fBO2hh7WyMQpe51uaofT1fLgk0csxHbW6d7yzjsib19OLJZq-xeK3Qqm7CiR_zv0OLKb8w3kqS3E8QhMI1y4zJen3Xrjf8PEYOkglFBqAir1i_5Jt8c/s320/IMG_5779.JPG" width="320" /></a></div>
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On pulling the plug and hair out, here we can see that they didn't even bother cleaning up the edge that is in contact with the hair.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDRAS4xipsE0pSVb7PKQLfpJLmFVPq6csFMSUMWQ3xtCJsIy33Ney0XlksEva43uRdewJq6SNQUAW6oZ6Evtxt1d212gxWqVo4YVRRWySlC8L2EFKvkQna2t0H0nDRoTIuhH-rzIVR0gO2/s1600/IMG_5781.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="797" data-original-width="1600" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDRAS4xipsE0pSVb7PKQLfpJLmFVPq6csFMSUMWQ3xtCJsIy33Ney0XlksEva43uRdewJq6SNQUAW6oZ6Evtxt1d212gxWqVo4YVRRWySlC8L2EFKvkQna2t0H0nDRoTIuhH-rzIVR0gO2/s320/IMG_5781.JPG" width="320" /></a></div>
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Not a good situation. Seeing more and more of this sort of factory work these days. I suppose they believe they can cover up shoddy work with a fleur-de-lis. <br />
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Well, we can't let it go out like that, so, a bit of chisel work to square up the mortise. Then, it can be rehaired -- without resorting to glueing the hair and plug in place, which is the way it presented itself here.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF0aQXNOq28_JGC26QtVGIeHZMsAUgpaZ_agInt53foZPPlXf3HbImF6qLaT3PBkK4LaHDGh3EnHBG7mz05uWtaKVxBQUW6AsPr1Xe7H58-OUBBwQoJfOzTKPAvepulopp6MI4Aq3YAZP9/s1600/IMG_5784.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="990" data-original-width="1600" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF0aQXNOq28_JGC26QtVGIeHZMsAUgpaZ_agInt53foZPPlXf3HbImF6qLaT3PBkK4LaHDGh3EnHBG7mz05uWtaKVxBQUW6AsPr1Xe7H58-OUBBwQoJfOzTKPAvepulopp6MI4Aq3YAZP9/s320/IMG_5784.JPG" width="320" /></a></div>
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Bow is rehaired, back in the customer's hands. Still a bit of a warp to the stick under tension, but not as bad as it was.Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-53931638149117801342019-10-25T09:17:00.000-07:002019-10-25T09:17:44.503-07:00Cello Bow RehairHad a customer bow in for a rehair, a nice looking stick. I didn't recognize the name, so did a little searching first.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjykr4XJZe8z1mBfcHO5OlUNhlEA3NDAPLEHuhMde9vogSfLhYZZWrFepdevO_7ox5Qfw9Hyp_OdOImFGlqmCC0yty6-dnk4VkOkGyZOtx68T5WeUJ1EbTyZ9BJKNv1bO0IqGlCb8b2YbPb/s1600/IMG_5556.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1549" data-original-width="1600" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjykr4XJZe8z1mBfcHO5OlUNhlEA3NDAPLEHuhMde9vogSfLhYZZWrFepdevO_7ox5Qfw9Hyp_OdOImFGlqmCC0yty6-dnk4VkOkGyZOtx68T5WeUJ1EbTyZ9BJKNv1bO0IqGlCb8b2YbPb/s320/IMG_5556.JPG" width="320" /></a></div>
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Turns out it's one of Arcos Brasil's trade names, a factory-made bow. Nothing wrong with that. Most of us have factory-made bows and fiddles, use them and enjoy them. The point is: this in not a handmade bow. <br />
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This bow has not been rehaired, as far as I can tell, so this is the way it left the factory. I'll add also that it has been played for some time, and the musician has enjoyed using this bow. No one is perfect, no factory is perfect, and what works, works. Just some interesting details, I hope.<br />
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So, when removing the hair from the tip, I had a little trouble removing the block. It was somewhat glued in. Here's the hair after I got it out.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVPQrNwQImA6uoJvpJPP8JWMbe0IfgzCUQxUS8m8GE4_thN3YxYPQ90MLZ7ROo2DBMnoBVSD4NkmTQfV_0Cd5pLI0F7ICAF5dpkGHri2c5M5LXMRWHk5d3amPs6Zxr4EcMJF2sVJTq4vOH/s1600/IMG_5563.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1186" data-original-width="1600" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVPQrNwQImA6uoJvpJPP8JWMbe0IfgzCUQxUS8m8GE4_thN3YxYPQ90MLZ7ROo2DBMnoBVSD4NkmTQfV_0Cd5pLI0F7ICAF5dpkGHri2c5M5LXMRWHk5d3amPs6Zxr4EcMJF2sVJTq4vOH/s320/IMG_5563.JPG" width="320" /></a></div>
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Superglue was used to bind the hair in the knot. Again, nothing wrong with that. I do it, as do many other rehair folks. It seems better and simpler than the old burn-with-rosin way of binding the hair, though plenty of folks do that, too. Seldom in a factory these days, I'd say. I suspect the block was not intentionally glued in, but that the plug was seated before the glue on the hair had a chance to dry -- a sign of haste.<br />
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Here's the tip mortise from 'above'.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqE8se-rQjo5NI6ligUIFtUaobl-vem5dL6y1hRlvp0f9NEcgOBXlY-1_gVOxbHjlvGTFcWBqJQZSjdZ6bnYDOb6Berl8e420dVXwO_3-0-ISSs8zPEu0W5v_bjJTVBNaV6AyNobcz2Pop/s1600/IMG_5551.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1566" data-original-width="1600" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqE8se-rQjo5NI6ligUIFtUaobl-vem5dL6y1hRlvp0f9NEcgOBXlY-1_gVOxbHjlvGTFcWBqJQZSjdZ6bnYDOb6Berl8e420dVXwO_3-0-ISSs8zPEu0W5v_bjJTVBNaV6AyNobcz2Pop/s320/IMG_5551.JPG" width="320" /></a></div>
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Note the slight 'divot' on the right-hand side. Extra credit if you can see it's partner on the left-hand side. What are these? We call them 'mistakes' in the trade. The router that was used to hog out wood here went too far. </div>
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Here it is at an oblique angle.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ1OtKybLuxyvI4n_PeAQTC0DbgwYI_gaiSd7Z8-ft-npIqLbQDYzS6XK4L81FYutKZHEscA6Dy1kIe4lhsC_fFujimtri5UputMcJXIJ8L-zKbA9QUf8tHwv_bMKAWiZ0fiupLvPfc-Qz/s1600/IMG_5552.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ1OtKybLuxyvI4n_PeAQTC0DbgwYI_gaiSd7Z8-ft-npIqLbQDYzS6XK4L81FYutKZHEscA6Dy1kIe4lhsC_fFujimtri5UputMcJXIJ8L-zKbA9QUf8tHwv_bMKAWiZ0fiupLvPfc-Qz/s320/IMG_5552.JPG" width="240" /></a></div>
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And a little more angle.<br />
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You might be able to see the round router marks in these photos. May have to enlarge them a bit by clicking on them. The round cut-out gets bigger as one looks further down into the hole. That's because the mortise has angled walls. The bottom of the mortise is smaller than the top. It's not a badly cut mortise, and the errors on the side don't cause much problem. In cutting a new block, we fit it 'front' and 'back. Doesn't need to fit air-tight on the sides. In fact, it's a little easier to get out on the next rehair if it doesn't fit the sides too tightly -- assuming one doesn't then superglue it into place.<br />
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In the frog, we can again see some sign of haste. Here the block is a little too loose on the side.<br />
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A section of hair has slipped around. From this, I can deduce the bow was probably rehaired 'frog-first' and this slippage was accounted for when combing out the hair and tying it at the tip. The hair itself, the playing section of the hair, was in fairly decent shape as far as tension was concerned.<br />
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Now with the plug removed --<br />
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Note the rounded corners at the bottom of the mortise, again a sign of router work that was not cleaned up with a chisel. This is not ideal, but I left it as is, cutting the corners of my new block to fit that.<br />
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The bow is now rehaired, and should work fine. Just a glimpse behind the curtain.<br />
<br />Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-55094527989900751542019-06-12T13:41:00.000-07:002019-06-12T13:41:43.185-07:00Original Antiquing on a Now Well-Antiqued Violin<br />
I usually have a couple of fairly abused violins about, and from time-to-time, I will pull one or two off the back shelf and try to get some work done on them. This is one. I have dismantled it to get at what needs getting at.<br />
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It is possibly a 100-year-old fiddle with a label that reads:<br />
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Salomon Luthier a St. Cecille </div>
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Place de la ecole a Paris 1756. </div>
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The label is another attempt at antiquing, I am fairly certain. If one were to bet where this came from, a good bet would be "not from 1756 Paris."<br />
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This fiddle has been badly cracked, several times, and badly repaired in the past, with way too much glue being used. Some folks working on violins believe more glue will make up for missing wood or bad joints. These cretins will spend time in purgatory for implementing this belief. Most of my effort has been removing old glue, just to get down to wood. <br />
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The inside of the violin has been darkly stained to simulate age. You can see the white areas where the stain didn't get to, those areas under the blocks or ribs, for example.<br />
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One bit of antiquing I just noticed is factory-applied thumb-nail damage, along the treble side of the fingerboard.<br />
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Maybe you can't pull it out of that photo, what with all the real antiquing that has taken place over the years prior.<br />
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It's under the varnish, or at least part of the varnish, in some mid-layer. Some one took something sharp and small, such as a knife tip or maybe a nail, and poked and scratched along there, then rubbed black stuff into it, to make it appear as if this particular fiddle had been heavily played by a virtuoso, maybe someone like Paganini, as one would with a high-quality old violin.<br />
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Be careful when buying with your eyes.<br />
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<br />Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-88770235342051350642019-04-13T13:44:00.001-07:002019-04-13T13:53:39.701-07:00A Day in OxfordWe recently returned from a trip to England and Scotland. First on my list of attractions to see when we planned the trip was a visit to the stringed-instrument collection at the Ashmolean Museum in Oxford. <br />
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And here I am, standing next to what is likely the most expensive violin in the world.<br />
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This is the famous Antonio Stradivari "Messiah" violin.<br />
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As you might be able to tell from the first photo, with the bright outside atrium light coming in through one portal, together with the glass cases and busy backgrounds, photography in the place is tough. Of course, there are plenty of decent photos of the Messiah to be found on-line, as well as controversy. It has a nearly complete layer of colored varnish, sharp edges, squared corners, all the things that other Strads don't -- because the others have been worn by centuries of use. Everyone I know who actually knows about Strads and other high-end violins think that this is the real thing. But folks love conspiracies, and if you do, too, don't bother commenting here. Not interested.<br />
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I was able to get a reasonable photo of the back, though, as before, better ones can be found on-line.<br />
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And here is the Messiah to the left, another Strad and a Viullame in a second case, and a case of guitars, including a Strad guitar at the far right. Note the glare on the glass fronts.<br />
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Here's the back of that guitar's headstock.<br />
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You might be able to click on it and see the identifying marks.<br />
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In addition to the Messiah, I knew the Museum had the oldest known violin, and was hoping it would be on display. It was. <br />
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In addition to this, a few others from the Amati family.<br />
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And another N. Amati I just thought was elegant, showing what can be done without relying on the figure in the wood for the wow-factor.<br />
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In addition to the Cremonese instruments, a display of Brescian fiddles of various sorts.<br />
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A quick walk from the Ashmolean, is the Bate Collection of Musical Instruments, where they have trombones, </div>
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bassoons,</div>
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a bow-maker's shop from the Hill Brothers shop,</div>
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and a plaster cast of Josef Haydn's skull.</div>
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By the look on his face in the painting, Haydn is not too sure about this display.</div>
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We walked around Oxford a little,</div>
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We're not eating at 5 Guys in Oxford.</div>
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This is better.</div>
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Nice day.<br />
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Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-79737937405455542762019-03-20T09:54:00.002-07:002019-03-20T09:54:44.996-07:00Robert Ballot, early 20th-century Boise violin maker<br />
Yesterday, a customer brought in a violin he bought not too long ago. Appears to be a typical late 19th-century early 20th-century Maggini-labeled factory fiddle. The immediate repair was to replace the endpin, which had rotted to the breaking point. Ended up putting in some new pegs and glueing a couple of open seams.<br />
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So the fiddle, double-purfled front and back. Almost an extra turn in the scroll. The label reads<br />
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Giovan paulo Maggini / brefcia 16<i>54(?) </i> </div>
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No country of origin on the label. All fairly typical for this sort of instrument. <br />
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But there is a second label, a repair label. <br />
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The repair label reads --<br />
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RECONSTRUCTED<br />
BY ----- Robert Ballot<br />
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Boise, Idaho, <u><i>March</i></u> 191<i>3</i><br />
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The fiddle must have been fairly new at the time, so who knows what repairs were needed. <br />
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At the top of the label, in later ballpoint pen, is<br />
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Repr. Jack Blakely 1949<br />
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Bok (?) 2223 Casper Wyo.<br />
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The instrument now, in 2019, shows several repairs to the top. I did not take the fiddle down enough to look for any other labels under the top, and the owner returned today, paid, which I truly appreciate, and took possession of it, which I also appreciate.<br />
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Given that the label was fairly far south of the f-hole, and I was shooting with my iPhone, I could not get the entire label in one shot. Here are a few images that you can use to piece it together in your head.<br />
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Neither name was familiar to me, so I did a bit of poking around.<br />
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From the <a href="https://www.amati.com/en/maker/ballot-robert" target="_blank">Amati</a> site,<br />
<span style="background-color: white; font-family: inherit;"><br /></span>
<span style="background-color: white; font-family: inherit;">Robert Ballot</span><br />
<span class="period" style="background-color: white; box-sizing: border-box; display: block; margin: 0px; outline: none; padding: 0px;"><span style="font-family: inherit;">(c. 1864 - 1864)</span></span><br />
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<span class="article_author" style="box-sizing: border-box; font-family: inherit; margin: 0px; outline: none; padding: 0px;">By: John Dilworth</span><br />
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<span class="article_author" style="box-sizing: border-box; margin: 0px; outline: none; padding: 0px;"><span style="font-family: inherit; text-align: justify;"><span style="font-size: small;">BALLOT, </span>Robert<span style="font-size: small;"> Born 1864 Berlin Germany, d. after 1927 Boise, Indiana (<i>sic</i>) USA. Violinist. Pupil of Riechers and Möckel in violin making. Emigrated to America 1891, settling in Boise Idaho. Small output. Large Stradivari model. Made by Robert Ballot Boise, Idaho. 1915 </span></span></span><br />
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<span style="font-family: inherit; text-align: justify;">From the</span><span style="color: #414042; font-family: inherit; text-align: justify;"> <a href="https://chroniclingamerica.loc.gov/lccn/sn88056024/1916-03-13/ed-1/seq-7.pdf" target="_blank">Evening Capital News</a> </span><span style="font-family: inherit; text-align: justify;">of March 13, 1916, in the classified ads, listed between Taxidermists & Wigs and Toupees, is Violin Maker -- </span><br />
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<span style="font-family: inherit; text-align: justify;">ROBERT BALLOT, Expert Violin Maker and Repairer, At Sampson Music Co., 913 Main St.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUj0TPdXq6YnmqEvliWChAZNdJMZG2SIGO8JyOAIBN9efX3zX7Dju5VOtGoQDm_mZ_74GkK3obth2VCBkTZv3mQL6ldR9F7AhdcX0qynkhxiTC0O_c7FHA9LDJZo8F6fG7WXjLALrWCIDv/s1600/Screen+Shot+2019-03-20+at+10.36.53.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1092" data-original-width="1600" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUj0TPdXq6YnmqEvliWChAZNdJMZG2SIGO8JyOAIBN9efX3zX7Dju5VOtGoQDm_mZ_74GkK3obth2VCBkTZv3mQL6ldR9F7AhdcX0qynkhxiTC0O_c7FHA9LDJZo8F6fG7WXjLALrWCIDv/s320/Screen+Shot+2019-03-20+at+10.36.53.png" width="320" /></a></div>
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For Jack Blakely, I found this reference, from a ca. 2014 <span style="color: #414042;">"<a href="https://www.brownpapertickets.com/event/3594905" target="_blank">Fiddlers of the NW</a>" </span>Seattle concert promotion --</div>
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<span style="caret-color: rgb(119, 119, 119); text-align: start;"><span style="font-family: inherit;">Ramon Selby grew up in Casper, Wyoming and played fiddle in his family band for square dances and other shows. He has a host of fascinating tunes from his familys repertoire, some very complicated waltzes for example, tunes he learned from his teacher, fiddler Jack Blakely, and many more tunes he learned from the legendary Hugh Farr, fiddler for the Sons of the Pioneers, who was a family friend and frequent visitor to the Selby household. Ramon was a 2012 inductee into the Northwest Western Swing Music Society Hall of Fame. Ramon will play with long-time accompanist Alan Troupe on guitar.</span></span></div>
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So at least Blakely was a known fiddler.</div>
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Certainly more out there, but I need to get back to the bench now. Anyone out there with more info, I'd be happy to add good stuff into the comments. </div>
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Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-73190553791227355072019-03-13T13:38:00.000-07:002019-03-13T13:38:00.273-07:00Ribs & LiningsWinter decided to come to Idaho in February. Snow in the mountains, which is needed for water in the summer, and useful for skiing in the meanwhile, which we've been out a couple of times.<br />
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At the bench --<br />
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Fit and glued the upper and lower ribs to my second violin form. Did the same to the first violin form yesterday, as well as installing the linings on the other (top) side of the viola. Here, upper right, the linings that will go against the back.<br />
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I have all the plates joined, so once these rib assemblies are finished and cleaned up, I can start tracing plates and get onto the arching process.<br />
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Even so, hoping to get out into the mountains again. Spring can come fast in these parts.<br />
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These two photos from this past Sunday, Bear Basin, near McCall, Idaho.<br />
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<br />Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-19812077208618413792019-01-24T11:54:00.002-08:002019-01-24T11:54:22.522-08:00Varnish variation<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGE4nTDFhjujYjboDSf3b6c8H7bMJ5jUjfwP9skq1IYyoYrt3AwMKwUu5p62W091sIlsP3Dj3vIPmauM0DfoMPsJM4l_GnPpEfRGLHZN-TYgv4jBmCjpqM4yra4MYH260w0-3bertb3HGJ/s1600/IMG_0421.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="755" data-original-width="1600" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGE4nTDFhjujYjboDSf3b6c8H7bMJ5jUjfwP9skq1IYyoYrt3AwMKwUu5p62W091sIlsP3Dj3vIPmauM0DfoMPsJM4l_GnPpEfRGLHZN-TYgv4jBmCjpqM4yra4MYH260w0-3bertb3HGJ/s320/IMG_0421.jpg" width="320" /></a></div>
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I posted my latest varnish routine a few days ago. Some had questions as to why I did it that way, and not some other way. Well, multiple reasons, I suppose. I wanted something I could control. I wanted something where each step didn't actually take very long. I wanted something that had easy-to-find products, that are relatively inexpensive. Also, I don't want to be a varnish-maker.<br />
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Most of the color I get in the shellac steps. I can vary the color through various agents, such as the cochineal 'tea' and the TransTint. The above photo shows some of the color variation possible. I shot this in less-than-flattering light, I think, but neutral. A white blank, and sunlight filtered up and reflecting off a white ceiling. We finally had some direct sun again today.<br />
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This is a couple white violins that I varnished, showing about the range of the colors I have in the shop now. A redder violin, one I made from scratch, sold not too long ago. It would have been nice to have that here for these shots, but nicer to have the sale.<br />
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Here is a mixture, one of my from-scratch fiddles, the Hardanger on the left, and the rest being whites, 2 violas and a violin.<br />
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Another shot of some whites, different reflective angles for the backs.<br />
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Here is the back of one of my scratch fiddles, in glancing light. I find it hard to photograph varnish and bring out the details I like to see. What I'm trying to show here is the texture, which comes mostly from the clear oil varnish final coating, maybe 2. It has that leather-like look to it. Being this is one of my handmade fiddles, it wasn't buffed down to car-door smoothness. In fact, I actually did a fairly bad job of smoothing this one out, unintentionally. I can even see some toothed-plane marks in the back. Not sure how I missed that, but I did. Fortunately, I do like the sound of this fiddle, and have been playing it for a year or so now. We are compatible. Not too interested in selling it, and have grown to like the tool-marks that I keep finding.<br />
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<br />Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-62635116442382527622019-01-22T09:46:00.000-08:002019-01-23T15:43:26.098-08:00Whidbey Island Scottish Fiddle (and Cello!) Workshop<div class="separator" style="clear: both; text-align: center;">
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Just back from a too-quick trip up to the Puget Sound region for the Whidbey Island Scottish Fiddle (and Cello!) Workshop. The teachers were Alasdair Fraser and Natalie Haas. It was held at Camp Casey, and the photo above is looking north from the grounds, with a typical blue Puget Sound January sky.<br />
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It was a fast camp, fast learning, or, for me, fast partial learning. We started Friday night with a class, then all day Saturday, learning tunes, arranging them for a concert at Coupeville High School. I like to think I'm a reasonable ear-learner, but by the concert time on Sunday, the 5 tunes were a jumble in my head. I could play bits and pieces. Fortunately, I recorded them and will have plenty to work on for the next couple months, at least.<br />
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Top-notch instruction. A huge class, 115 or so instruments, mostly fiddles, in a single classroom. I didn't get many photos. Here's one, with Natalie talking about back-up techniques, and Alasdair sitting. He stood most of the time, and when he was teaching, I was not taking photos, full concentration on trying to keep up.<br />
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Here's a shot during a break, where the two of them are going through the next tune to come up.<br />
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Tunes we learned: Leslie's March, Humours of Whiskey, Had 'er Gown, Cali's Wedding, Flatbush Waltz, and Ca Ye By Atholl. A big variety of tune styles, and a fair number of tunes to get under your fingers in less than 48 hours.<br />
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But we pulled-off the concert Sunday afternoon. My family (5 of them there) in the audience said it sounded great. 100 or so of us on stage for the grand finale. Alasdair and Natalie played the first section of the concert, after a warm-up by the local band of young men, 'the Reds', who also did a great job. Here's one photo I managed to snap of the two masters at work.<br />
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We stayed in the camp quarters, and were lucky enough to get a second floor room on the far-end, so we had the ocean waves to listen to at night. Good digs.<br />
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On the way up, we stopped in Seattle to look about. My main interest was the new Nordic Museum, which I hadn't been to yet, and especially since they had a special traveling exhibit on the Vikings.<br />
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Direct from Sweden. One artifact that really caught my eye was this bit from a boat burial. Here are some of the clinker side planks, and laying there, a bunch of arrows in a quiver. <br />
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Upstairs, in the regular exhibit, I was surprised to see a scale model of the Oseberg ship.<br />
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And a good 3-D look at one of my current scroll models.<br />
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<br />Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-49818546078861364242019-01-16T10:51:00.001-08:002019-01-16T11:03:01.666-08:00Varnish sequence, for these two instruments.<div class="separator" style="clear: both; text-align: center;">
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I took this photo a couple days ago. The sun was coming in through my south-facing windows, striking on a coat of freshly laid-on clear varnish. I thought it was a pretty image, and to my surprise, others thought so as well. I've gotten more comments on this image than any I can recall previously.<br />
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Folks are asking about my varnish procedure, so I thought I'd just go ahead and write out what I've done here. I am indebted to others, probably too many to mention, but I would point out that many of my starting points are due to Michael Darnton, and the workshop he leads in Claremont, California, each summer. If you are interested in violin-making, you should consider his workshop.<br />
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<a href="https://scvmw.com/" target="_blank">Southern California Violin Markers Workshop</a><br />
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I have purchased varnish of various sorts from commercial outlets such as <a href="https://internationalviolin.com/" target="_blank">International Violin</a> and from small makers, such as <a href="http://violin varnish.com" target="_blank">Joe Robson</a>. Joe leads a workshop in varnishing. I haven't attended that one, but have heard of, and seen, good results from it.<br />
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I've made varnish from scratch with my fellow violinmaker, Ruston Ruwe. It's a lot of work, and not always successful. Ruston has far more talent for it than I do, and is more willing to experiment with it.<br />
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Geoff Richings, my friend on Flickr, turned me onto the oil-paint-slurry method, which requires some experimentation.<br />
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In my earlier days, I was intrigued by the idea of duplicating the ancient Cremonese varnish. I have since decided I won't live long enough to do that. And I have plenty of other issues to deal with.<br />
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Secondly, I got interested in 'weird' instruments, such as pochettes, 5-string fiddles, and Hardanger fiddles. Getting away from conventional violins somehow gave me the freedom, the permission, to just get some sort of varnish protection on the instruments, string them up, see what they sound like, and adjust from there.<br />
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Warning 1: I seldom like the results of my varnish. My current goal with varnishing is to have something I find inoffensive.<br />
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Warning 2: The method that follows here is the first time I have done it exactly this way. It's based on previous things that sort of worked, and yet I wanted to try something different, to get a better result. I'm not unhappy with this one yet. But next time I'll probably do something slightly different, or maybe completely different.<br />
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These are two instruments not of my making, but whites made in Bulgaria. The violin in the sunlight is a master-grade instrument, relatively expensive, that I bought through Ned Nikolov in Colorado, who imports them. I could not find a web-link for Ned, but a Google search under 'Ned Nikolov violin' will get you to him. I use the phone to contact him.<br />
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My process here is slow, because I have repair work, my own making, fiddle lessons to teach, gigs to play, and time spent writing the occasional blog post. I won't mention time wasted on Facebook or searching for useless information of various sorts. On the other hand, allowing more time for each layer to dry has actually contributed to better results. Don't be in a hurry.<br />
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November 2018 -- remove the fingeboards. Not necessary, but I find it easier to work the varnish process that way. Clean up the wood with horsetail. As they come, these whites are full of buffer marks, swirls, cuts, and glue stains that you can see with glancing incident light. Time spent here is important. The smoother the wood is, the better reflectivity one will have. Tough on the spruce, because I like the corduroy effect in my own instruments, but on these whites, that has been scrubbed out mechanically. Many customers like very smooth tops, so it works. I suppose it reminds them of factory instruments, or corpse-like old instruments that have been polish many, many times. A lively corduroy in the spruce appeals to some. Myself, for example, and other eccentrics.<br />
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13 November -- seal the spruce with Knox gelatin, very dilute. You can find this in your grocery store. I don't want the end-grains of the spruce to soak up the stain I am going to add. <br />
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14 November -- A coat of Hammerl JOHA Water Stain 421 at 11:30 am. A coating of JOHA 2210 Primer, colorless, at 5:30 pm.<br />
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19 November -- A second coat of the 2210 primer, 9:30 am.<br />
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28 November -- A layer of garnet shellac. I got this shellac in flake form from <a href="https://www.highlandwoodworking.com/dewaxed-garnet-shellac1lb.aspx" target="_blank">Highland Woodworker</a>. I made a 1-lb cut, which for my uses is 1 oz of shellac flakes to 1 cup of alcohol, Everclear, food grade. One can do just as well using Bullseye Amber from the hardware store. As it comes, it needs to be diluted down quite a bit. And I can never use up a full can before it goes bad. After it opens, you only have a couple months before it degrades. After that, it won't quite dry properly. You can use it to coat the chicken coop, but don't use it on a fiddle.<br />
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Followed this with 4 more shellac coats, 1 each on November 29 & 30, and December 4 & 5.<br />
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04 December -- a coat of shellac to which I have added cochineal tea and blue dye. I don't have precise measurements, but do it by eye. It is very easy to add too much of either, but particularly the blue. The blue is TransTint Blue #6022. I got it from the local Woodcraft store; it is readily available elsewhere as well.<br />
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The cochineal tea is my invention, though I'm sure others do it. I haven't heard of it elsewhere. So far, it seems to work. My wife is interested in fabrics, and one day, while hanging out in yet another yarn store as she looked around, I happened to notice a jar of <a href="https://maiwa.com/collections/cochineal" target="_blank">Cochineal fabric dye</a>. I bought the 30-gram jar several years ago and now have less than half a jar left. <br />
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To make the tea, I put some of the ground Cochineal dye into alcohol and let it dissolve for a few days. I can then pour some of this directly into the dissolved shellac. Depending on how much shellac I have, I then add a drop, maybe two, of the blue TransTint.<br />
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And it's good to mention at this point, that I always have a couple scraps of maple that I have been varnishing along with my instruments. I can experiment on these as I go, just to make sure things don't look too weird.<br />
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05 December -- In a dinner plate or similar surface, mix burnt umber oil paint with mineral spirits, to make a slurry. Rub this over all of the varnished surface (not the neck) until it looks like it has been dipped in raw sewage, then wipe most of it off. You will note a color change.<br />
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10 December -- a second coat of the shellac/cochineal/blue, mostly to protect the rather fragile dried oil-paint coat.<br />
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11 December -- A coat of International Violin Dark Brown #1010DB oil varnish. Not a true oil varnish, but seems to work. I apply the varnish with a Wooster 1-inch (25-cm) brush that I bought at the hardware store. After varnishing, I put the brush into a jar of mineral spirits while I tend to other things, then wash it out with warm water and soap in the kitchen sink.<br />
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Two more coats of the dark brown IV varnish, December 12 and 17.<br />
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08 January 2019. I scrape the chamfers down to the wood, and apply India ink with a brush.<br />
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09 January -- touch up the blackened chamfers with India ink, to make the black more uniform.<br />
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12 January -- Clear oil varnish, International Violin 1011c. Second coat on 14 January. Third coat this morning, 16 January.<br />
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I think that will be it. Now to let them sit for 2-4 weeks, then a final polish and set them up to playability.<br />
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Between all of the coats of all the products, I go over the instrument in good, bright light, and in glancing light, looking for dust specks, brush marks or hairs, any weirdness. Rub that out at the time. Smooth is of interest here.<br />
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And I use multiple thin coats, rather than fewer, thicker coats. I wish I could do it in fewer coats, but I can't control them when they get thick.<br />
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My process here is not the way Stradivari did it, so if you want to have an argument about that, I would direct you to one of the several violinmaking forums online. I have other work to do.<br />
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<br />Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com2tag:blogger.com,1999:blog-6577629432136202004.post-31197919495486340052019-01-14T13:05:00.000-08:002019-01-14T13:05:22.129-08:00Varnish and a chinrest<div class="separator" style="clear: both; text-align: center;">
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The smell of varnish in the morning. Put a second coat of clear oil varnish on these two this morning. Neither are of my make, they are Bulgarian whites. The one in the foreground left is a 16-inch viola, and the ones of this make I've had in the past have been rather nice sounding. The one in the light, in the background, is a master-grade violin. I have never spent this much money on a white instrument before, so an experiment, or a gamble, depending on the point of view. <br />
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I think these might be done with varnishing. Now to hang out for a while, let the varnish harden, then set them up and see how the play.<br />
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Working on a customer's instrument on the bench today, a 3/4 violin with a Juzek label. Caught the light just right, and noticed these grinder marks in the chinrest.<br />
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You may need to zoom in to see them properly. They appear to come from some sort of drum sander, used to shape the cup of the chinrest. I like finding tool marks. Gives a clue as to how things were done.<br />
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Here's a side view.<br />
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You might notice the little bit of wear on the right side of the chinrest. Not ebony, but painted black to appear so. Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com2tag:blogger.com,1999:blog-6577629432136202004.post-21939814803257962392019-01-13T12:04:00.000-08:002019-01-13T12:04:03.703-08:00January Boise Contra Dance<div class="separator" style="clear: both; text-align: center;">
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Oh, that's us! Swing!</div>
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Good turnout at the 2nd Saturday dance in Boise last night. Always fun to play for a big, happy group of folks. Plenty of newcomers, and they did great. Hope to see them back again.</div>
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Took these shots during a few of the walk-throughs. Haven't yet figured out how to take photos while playing for the dance. Maybe some sort of hat device. Something to think about. Another day.<br />
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<br />Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-55249609606470739832019-01-02T10:49:00.001-08:002019-01-02T10:49:31.121-08:00Viking chest<div class="separator" style="clear: both; text-align: center;">
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I've been wanting to make a basic medium-sized tool chest for the shop. Unrelated, in the past couple of years, we've had to do a bit of remodeling, or repair, that required a few sheets of sheetrock. The sheetrock delivery included a nearly half-inch thick, 4'x8' sheet of chipboard, of the roughest kind. Being frugal, I put it aside, thinking I might find some use for it somewhere.</div>
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Holidays are a disruption to ones normal schedule, and a chance to do something different. </div>
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So, these things combined. I found a few line drawings of Viking sea chests, and settled on a few folks' idea of one found on the Oseberg ship. I modified the information I found a little, and a little more as construction continued. I used the chipboard, nasty stuff, and roofing nails to supply the decorative nailing, as the thing was clamped & glued together with Elmers carpenter glue. I had a small, opened can of Minwax laying about, so used it to stain the chipboard, the color being Provincial 211. In another day, I'll through a layer or two of blonde shellac over it, to give it a little more protection, the shellac being stuff that is otherwise going to go bad before I can use it up.</div>
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The only thing I had to buy was the hardware, and I went over to our local D&B feed store, found some fence/shed hardware, 2 strap hinges and a clasp, the least expensive I could find. I think the total there, with 6% sales tax, was just under $18.</div>
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I'll account my time to Holiday entertainment. And we have our annual Viking party coming up, so someone might find it a handy place to sit, maybe grab onto an oar.</div>
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And yes, this is ridiculous, but that's part of the fun. It will function as a tool-storage box, at the least.</div>
Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-78786048464066873502018-12-27T11:20:00.000-08:002018-12-27T11:20:36.499-08:00Hammers<div class="separator" style="clear: both; text-align: center;">
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I found this little ball-peen hammer beside the road one day in the late 1970s. Was a carpenter at the time, waiting for the boss to pick me up on the way to a worksite some hour or so away. We carpooled, and since his truck had the big tools, he got to drive.<br />
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The handle broke yesterday. I haven't used it daily since the 70s, but I have probably used it weekly or more, certainly since the mid-1990s, when it's been hanging on the rack above my workbench. Comes in handy for all sorts of minor little chores.<br />
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Fortunately, I had recently rehandled a slightly bigger hammer head, a survivor from the Grandjean fire last August that took out my friend Jan's cabin and two others.<br />
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And with that, I was able to finish putting a new handle on yet another hammer head from Jan, this one not in the fire, but just the right thing for our upcoming Viking party.<br />
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<br />Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-20791345731773479702018-12-10T13:55:00.000-08:002018-12-10T13:55:24.372-08:00Contra dance & St. Lucia Celebration<div class="separator" style="clear: both; text-align: center;">
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Follow-up on my last post. Here it is Monday, and still at it. We had a good contra dance Saturday night, even if it was a little unusual. <br />
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I should add that all these photos were taken by Monica, and since we were both involved in both events, most are either before things got really rolling, or after things started to taper off.<br />
This photo above was during the new-dancer orientation, teaching folks who showed up early to get a little extra instruction. An unusual dance because Pat, our usual caller, was off to a work event. So, we took turns. Monica called several, leaving us without a piano. Christian taught several, which worked quite well. I taught one. That was the most unusual. The first time I have not been playing lead fiddle at this dance in over 10 years. Jan did great. I taught an English Country Dance, Key to the Cellar, which confused even some of the experienced dancers, being proper, 6-hands-from-the-top, reels (heys) of three -- all sorts of weirdness. We all got through it without injury. And they'll be happy to have Pat back next month!<br />
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Then Sunday was the St Lucia Celebration and Christmas Dinner. Here's the Scandi Band playing as folks were starting to come in.<br />
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And some of the folks coming in, choosing a spot, looking over the silent auction items, scoping-out the potluck dishes.<br />
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I played the Hardanger while Alan read his poem on St. Lucia --<br />
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And then we had the St. Lucia parade of children.<br />
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And later, a special guest.<br />
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Monica caught a few shots of the sunset from the west windows on the Cathedral of the Rockies in Boise, where the St. Lucia event was held.<br />
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Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-76941029518000947992018-12-08T15:08:00.000-08:002018-12-08T15:08:04.461-08:00Performances, that busy time of year<div class="separator" style="clear: both; text-align: center;">
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We played for folks at the <a href="https://www.anewvino.com/" target="_blank">New Vintage</a> wine shop in Meridian, Idaho, last night. Photo above shows Jan on the left, myself center, and Tim on guitar. No piano, so Monica was off-duty. She took this photo, actually. Tim also played a few tunes on the Highland Pipes. You can see them atop the yellow chest behind Tim. Highland pipes inside always catch attention. Our first time playing there, it was a fun time and we hope to go back again.<br />
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Tonight is the usual 2nd Saturday contra dance in Boise, which will have all 4 of us playing, as well as calling a few of the dances. Pat, our regular caller, is off to a holiday dinner with her fellow school teachers, so we're scrambling. Added to that, we through in a few Christmas tunes with the contra sets. Some of the tunes, we'll get the dancers singing as they reel. And we'll have one dance with Tim on Highland Pipes here as well.<br />
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This morning, I had a touch-up rehearsal with the Scandi Band. We're playing the Santa Lucia dinner tomorrow, Sunday, at the Catherdral of the Rockies in Boise.<br />
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Tuesday is the second and last rehearsal for the Sing-along Play-along Messia, coming up next Saturday, the 15th, in Boise. This is with the Serenata orchestra, and I sit safely on the back row of the second violins. I can read music, but not very well. My wife, Monica, sings with the audience and it's a good time for every one.<br />
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December 20th is the Sons of Norway Christmas dinner, again with the Scandi Band.<br />
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A busy time of year. If you're in the area, hope to see you at one of these events.<br />
Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com2tag:blogger.com,1999:blog-6577629432136202004.post-14305788854153542532018-11-30T15:35:00.001-08:002018-11-30T15:35:30.221-08:00Mary Rose 3 and 2 new fiddles in the starting blocks.<div class="separator" style="clear: both; text-align: center;">
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I had sketched out a flower for the end of the pegbox, but changed my mind. Thinking of a ship's carpenter making the box fiddle, I thought a friendly cat, simply done, might be more fun. <br />
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With most of the pegbox work done, including fluting out the reverse side, one single fluting channel, I cut away the remaining stock from the lower end of the neck piece.<br />
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This small stick will run the length of the box, to supply the strength to oppose the string tension. I did the same for a cigar box fiddle at the end of last year, and it seemed to work.<br />
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Planed off some of the saw marks, also to make the stick extension a little cleaner looking, even though it won't really show.<br />
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On another front, I have started two regular fiddles. Blocks squared and glued in place.<br />
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Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com0tag:blogger.com,1999:blog-6577629432136202004.post-11571571887347379192018-11-12T12:32:00.000-08:002018-11-12T12:32:26.468-08:00Viola strung up<div class="separator" style="clear: both; text-align: center;">
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With newly arrived pegs and strings, I was able to set-up my 15-1/2" viola today. I am usually not so happy with the sound of my instrument on the first day, but this one works. <br />
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I don't normally weigh a finished instrument, but my on-line friend and a good viola-maker, Luis Manfio in Brazil, weighs his. So I did the same. Set-up, without the chinrest, as in the photos, comes in at 529 grams. For those of you who don't understand metric measurements, that's a little over half a kilogram.<br />
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And if it helps, the body length can also be expressed as 39.5 cm.<br />
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Anyway, the thing will stretch some places, contract others. I'll be playing it in the meantime, then adjust it as time passes.<br />
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<br />Ken Pollardhttp://www.blogger.com/profile/04383200437838068815noreply@blogger.com2