Repair & Restoration
This Tononi cello rib has megatoothed plane-blade marks on the inside. The marks also show pretty liberally on the outside of the cello providing…
This morning for breakfast I got a double yolked egg which is supposed to be rare and lucky, an hour later I was carving into an apparently perfect piece of spruce for a a cello top when I uncovered a sap pocket. This was definitely not a lucky event but it wasn’t as unlucky as it could have been.
When putting a new neck into a cello the mortice is cut precisely so that the fingerboard projects out to a specific height above the cello top ( the neck projection, or pitch is usually about 81mm measured at the center of the bridge). It is often the case that the neck projection, which was correct just before gluing, comes out higher than intended.
We have a cello in the shop with four very thin and multiply cracked ribs, the traditional fix is to […]
This was a quick test to look at the effectiveness of silk as a rib reinforcement rather than a more commonly used wood cleat.
Varnish repair can be a challenge but with some experience it becomes less daunting, you need an awareness of what it is that “gives away” a varnish retouch job
Opening up an old instrument you never know what you will find; players may know that their instrument has a lot of old cracks but they usually have little idea of what it looks like on the inside. While for a collector the ideal may be an instrument in “as new” condition, decay is inevitable and there is a certain beauty in the repair work itself
I’ve come across a couple of violins like this Storioni where the corner blocks had apparently been replaced. Signs of this are: none of the linings have been morticed into the blocks, and the linings ends have been cut on a line parallel with the line that bisects the rib miter allowing a new block to be slid into place.