Pierre's photos are good, but I'm clueless about French so I translated his instructions with Alta Vista's Bable Fish at
http://babelfish.altavista.com/tr
Sorry these are so long (and they're rather funny since Bable Fish didn't understand all the words and it's a literal translation by a computer program); (See Pierre's webpage for the illustrations). And if anyone wants to edit/fix this, PLEASE have at it!
1.) - to place beautiful the, lying one on the back on a cover or your lit.(cela begins hot) Eventuellement to roll up the rope-maker in a rag to avoid any wound on the level of the table; in fact only if one must slacken all the cords (for a work on the rest or the rope-maker for example)
2.) One can mark the placement of the rest on the table with a soft lead pencil (attention not to damage varnish) because the setting in tension of the new cords will tend to make it go up; it will be then easier to give the rest to its initial place.
3.) One will change the cords the ones after the others; to maintain the heart (it is the romantic moment) in its place, by preserving a pressure on the table by the other cords. The order of the change is of no importance, one will take care has what the cords do not overlap in pinning it. One can start with the cord of G, even if it means to slacken that of D if some difficulties are had so that the cord of G passes under that of D in the head (it is the case on my double bass) and to pass then to the cord of D then A and finally E even B (there it is the catch of head, one is far from the erotism of the departure) One thus will remove the cord of G; a small trombone worked in hook to make little the task easier. Then one passes the end of the new cord in the hole of the gun, which one will have directed to the bottom and towards the volute. One recovers the end of the cord and one passes from there 1/4 to 1/3 of the part not spun (i.e. that nonmetal coated with its soft coloured wire) out of this hole. The loose lead is brought under the vibrating part of the cord; thus the cord will be blocked on this level against the gun.
(text under illustration)
(the flêche shows the direction of rotation of the gun of ankle)
(text under illustration)
Now it is enough to roll up the cord around the gun while turning ankle. I maintenances the tended cord and I direct the cord towards the interior (compared to the hole of the gun in pinning it), then towards the extérieur(by crossing the turns of cord), so that at the last turn of gun the cord arrives about opposite its slide of sillet. (there frankly one thinks that the language of the words is not enough any more, look at the diagram rather)
(text under illustration)
to note on the diagram and the photograph: no the rotation of the cord towards the intérieur(par report/ratio with the hole of the gun) only towards the outside because the thickness and the length of the cord did not make it necessary.
4) One will give in each slide of the sillet and the rest a good layer of pencil quite fatty 6B or more, for each cord. That will allow good slips of the cord at the time of the settings in successive tensions at the time of the réaccordage. (less wear and less movement of the rest) The loose leads could be possibly divided; if one is on more not using the cords on another double bass. If not one will be able elegantly to roll the ends in loop, by paying attention so that it cannot create unwanted noise by their vibration on another cord or pinning it.
5.) One will maintain the rest with right angle compared to the table, with the whole hand posed above at the time of the setting in tension of the cord, so that higher end of the rest does not go up towards the sillet.
Some rules: For the placement of the rest: the center of the foot of the rest must pass by an imaginary line between the notches of hearing. The rest must be vertical; the lower face of the rest (with dimensions rope-maker) must be with 90° compared to the table For the placement of the cords: the cords extreme E and G must be at equal distances of the edge of the key On the rest the depression of the cords in the slides should be to the maximum of 1/3 of the diameter of the cord (to allow a good vibration of this one) On the level of the notches of the sillet: their width should be just higher than the diameter of the cord (to avoid the wear of the cord on this level)
they is not finished, it but does not remain any more to give pleasure with our new play of cord.
It's also good to have a big peg winder or a peg winder adapter for a hand drill. This will save you lots of time and arm cramps!
or with the help of some TB.
