Each type of repair is described thoroughly and in great detail. The manual includes information on bass-specific techniques such as fitting a low C-extension on the scroll and sound adjustments for jazz players; and general string-instrument techniques such as fitting adjusters to a bridge, high saddle, making purfling and fitting patches. There is also a section on bows which takes into account the budget and quality of the instrument, and many other low-budget techniques including ironwork, rethickness-ing, and plywood bass repairs are also discussed.
Traeger understands the acoustic properties of the bass and considers these in his approach to all aspects of bass maintenance and repair. I found especially interesting his opinion on the differences in sound between the Italian, French and German schools of bass making, and his approach on how to optimise the instrument's sound. I would recommend this book to anyone wishing to learn more about the double bass' construction and sounds.
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It represents a lifetime of craft and professional work in the field. Both David Brownell and William Merchant contribute a lot of information and perspective. Just the chapter on installing a fingered C extension for your customer who suddenly discovered the music of Wagner is worth the cost of this book. Thanks for the lifetime of hard work and the ability to share it with the rest of us, Chuck!
So I am happy for the bassists in New York, and now the whole world, that Chuck has been able in this book to share his insights.
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So if you want your bass to sound and play as you dreamed it always could, read Section II - it's for you! This has to be the greatest bargain I've ever seen in luthier books. Anyone who repairs or wants to repair basses can not afford to be without this book. Anything relating to the instrument and its nobility is of great interest to all of us, players and repairers alike.
Everyone will benefit from owning a copy of this magnificent body of work. The bass world finally has an extremely comprehensive guide all to its own to help us sound better and keep our life partners in the bass well maintained. From the Prologue by Chuck Traeger: This booklet is the conclusion of my research and my writing.
Fiddle Repair Can Be Fun Part 2 - Rod Fleming's World
It is not that there is no more to be done. It is that at eighty three I am running out of the time to do it. The book also features pictures of ten signed instruments by name makers, photographed by Bill Merchant. Non-mathematical, illustrated, for the string musician rather than the violin maker. A wealth of practical information on adjustment, strings, instrument and bow characteristics, historical perspective, etc.
You are welcome to read a sample: Chapter 7, The Bow Note - this is a large copyrighted file. Describes the author's twenty-five years of experience and the methods and equipment he used to "play-in" string instruments. Only for experts who can properly evaluate this process. In this short book Gerhard von Reumont explains his method for quickly doing this by means of a mechanical device attached to the bridge. Secure, convenient, credit card ordering.
All orders ship on the same or next business day. The shipping charge is added at checkout after you have supplied your location. Use your regular credit card. PayPal is just the processor. Someone had committed the cardinal sin of stripping the varnish, and I know my own limits there, so I finished her with French Polish, which sits on the surface of the wood and can be removed completely with alcohol, which itself evaporates and leaves no residue.
I made no changes to the structure of the violin. A real restorer could easily take her back to the state she was in when I found her and perform a complete restoration, and you would never know I had done anything at all. Indeed I hope that after I am dead and gone, someone will do just that, and give her another two hundred-odd years of music-making.
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- 10 Replies to “Fiddle Repair Can Be Fun Part 2”.
All of these may be replaced by the player. More structural, and to be treated with much more care, are the sound-post and the fingerboard. Nevertheless, these too will have to be changed sometime in the life of the violin, and they can be replaced by the player. If you are a fiddler on a budget you should know that it is still possible to find very old European violins that need a little work to turn them into really very nice instruments indeed, at very affordable prices. Since first writing this I have discovered some very nice Chinese-made violins and I will do a piece on that later. Furthermore there is absolutely no doubt that the best thing of all for a violin is age, the more the better, and there are huge numbers of really nice fiddles around made between and Often these instruments can be picked up for under a hundred Euros, which is ridiculous when you think what they compare to or what smart violin boutiques would charge for them after a good clean and a new set of Dominants….
I found your site looking for help on diy violin repair. I have taken a low- but-not-bottom-of-barrel-low -appraised-value violin at least 50 years old, as I knew the woman who played it in her childhood, no other history known, except she claimed it came to her in the coffin case that looks to be c. I play other instruments, including cello, and am determined to get this little fiddle playable, without spending too much.
The biggest roadblock for me is that the neck is loose from the body.
Fiddle Repair Can Be Fun Part 2
Unfortunately you might have to take the back off the violin in order to reglue the neck block properly, if it has come loose inside the body. The good news, however, is that I have a fiddle here with exactly the same problem and I have been meaning to fix it for ages. Would you like me to do a step-by-step article on how to do this? I could do a video too. I have some free time this month, I could do it then. The rabbit glue will be fine, all the hide glues basically are the same. A step-by-step article would be fantastic!
Is there any way I can be helpful in the process of getting the article together? I may also decide to make a parallel article about following your instructions on my own young blog.
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Also you will see the tapered slot the mortise that the neck heel the tenon should fit into. As for helping, well thanks but I am in rural France…. What I love about this work is that, like playing music, there is always more to learn, and I always feel challenged to improve my skills and knowledge of the instrument. I am not seeking a cure.
My experience with fretted instruments began in with guidance from Noah Wulfe and an apprenticeship with Miguel Luciano, a renowned luthier in Greenwich Village. I cut my teeth and many guitar strings at Sam Ash in Brooklyn for two and a half years. Born and raised on the south shore of Long Island, I grew up playing violin in various school and youth orchestras. Later, in college, I transitioned to viola and have been playing both interchangeably ever since.
There I learned the craft under the guidance of Charles Woolf and Sanghoon Lee, and graduated in I've been working at David Gage since , where I specialize in violin and viola repair with the occasional cello and bass thrown into the mix and also set up the shop's line of Realist Violins. The diverse knowledge and experience amongst the other luthiers at the shop has given me valuable insights into approaching my own making, and I feel lucky to work with such a talented team.
I work on violins here at the shop. I work on the occasional customer instrument but mostly perform setup on the Realist Violin: This might include adjustments to the shapes and angles of the fingerboard, neck, nut, and saddle. The feeling returned when I visited the shop of Nathaniel Rowan. All three of these luthiers inspired and encouraged me, and eventually I enrolled in the violin repair program at the State Technical College in Red Wing, Minnesota, where I earned a diploma in violin repair.
Unable to leave well enough alone, I always ended up taking my instruments apart and tinkering with them while I should have been practicing.