I've been doing some repair work on various instruments, not building . . . . YET.
I was going to start a guitar this winter but am delaying that until springtime.
I have to get my 'chops' together, in terms of wood working but I am really looking forward to it.
The repair work is very satisfying and fun to do.
I don't believe we've met at any festivals but never say never. I haven't been to any festivals away from Southern Ontario, except for Summerfolk which I attended religiously for several years,if that's any help. We used to camp across from festival there and it was always quite a time. It is possible that we picked together there.
Thanks for the comment,
William I see you have a mystery bow .Tourte invented the method of bending the wood to achieve the curve .I looked up TOURTE BOWS PICTURES and there is plenty written about him.You can compare the photos,but it did say he never stamped his bows .Pity I wasrooting for you.He only finished them with oil and I think pumice powder.But theres still a chance its a good bow.His sticks were very robust and stiff.Try an expert to see if it`s a good one. I read about Tourte a short while ago.I wanted to know how on earth a Frenchman living in France around 1800 could be making bows with a rare wood only growing in the jungles of Brazil.Then I learned that he tried every type of wood he could think of ,even wood from barrels .The pernambuco from Brazil was being imported and crushed up to make dye .It`s enough to make you cry .Any guitar maker dreaming of a nice piece of rosewood can relate to that situation.Good luck .
Hi, Bill Is it a real genuine Stainer violin? I only have a peripheral knowledge of violins and famous makers, but Stainer pops out in my memory as one of the greatest Austrian makers. There are, of course, just as for Stradivarius violins, a slew of copies around and many of them have his name stamped in the back along with a paper label. The Smithsonian Museum has a page at http://www.si.edu/resource/faq/nmah/violstai.htm and I expect that there is alot more on his violins on the Web. This is another link to Stainer and his violins:http://rperras.tripod.com/id37.htm I'd highly recommend that you spend some time determining how to authenticate it before you undertake any work. Real ones are valued in the realm of Stradivarius instruments. The sheer likelihood of it being a genuine Stainer is pretty low but I'd sure hate to be wrong. Please keep me posted on this one and if I can help any more, just let me know.
Hi, Bill. I kind of suspected it would be a copy but, God, I'd hate to be wrong. The stamp was a dead give away. Can't wait to see what you've done with the Hensel. Sounds like you've got it going your way. Please post pics when you get it all done.
Hiya Bill. I friend requested you so that I could ask you about that picture that you recently posted of a great looking Gibson L00 style guitar with a reddish brown finish on the spruce top. I was wondering if that was a guitar that you had made. If so, I'd love to know what you used to stain the top and what finish was used. Also would love to see some more pictures of it. It is truly a beaut!!
Hi Bill! I just noticed your message and apologize for the delay in getting back to you.
You asked: Hesh I was just wondering how you did your refrets . D o you level the board then put the frets in then level the frets then put a slite down bow in the centre and then sand a little more off to get a little relef in the board a touch more on the hi side than the low then crown????????
For the most part you've got it but every neck is different and it all starts for me with doing some observing and noticing what I can about the specific neck under tension and not under tension. As you know it's often a 50/50 thing if the neck has more or less relief on the treble side or the bass side. If it is not what we want to see, such as more relief on the treble side, we have an opportunity to correct this in the refret. We also have an opportunity in some instances to actually belay the need for a neck reset for some years too by slightly changing the neck angle to favor more material removal near the nut. It's a case by case basis depending on what the guitar, the specific guitar may benefit from.
Generically speaking though I level the board, create some "fall-away" after the 12th (looking for about .015) at the last fret) and then prepare the slots for the new frets. Once the new frets are in is when I mill in the relief as needed by placing a solid, padded object to support the neck under the 7thish fret and either pulling the head stock toward me or pushing it away as needed for how this specific neck responds under string tension. The milled in relief may only be a few additional swipes of the leveling beam.
Typically though once the new frets are in very little crowning is required if I do the board leveling correctly.
You're not being a pest. I've appreciated your replies. I just wanted to hear how other people do that kind of repair. I've done them numerous times, I just want to do a better job and was just hoping for some advice and guidance. I know the guys on this forum are as good as they come. You've already answered many questions for me, and I appreciate it greatly.
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