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  2. Rue

    Sunrise auction in Tokyo online now

    Well yes - not the best example. I hadn't even had my first morning coffee yet. It was just to illustrate the point - without having to come up with some algorithm...
  3. Danube Fiddler

    Are violins the most faked objects ever? Seems super crooked.

    This generally is seen from a practical point of view. The point of real truth could be a different one, as we also have seen in some other areas of art. I would like to remember the Beltracchi - case : - the Beltracchi fakes of important early 20th century artists had been a ) acknowledged by the worldwide leading expert in these painters as original work and b) in one case a fake of Beltracchi even got the all-times-auction-worldrecord of the faked artist ! - Betracchis work deceived nearly all experts of the style-critical and working-technical field. He was exposed only by a very little fault and only by pure chemical- science, because one of his colours, he exceptionally didn´t mull himself, was contaminated by a little bit of titanium - white, not yet existing in the time of the faked artist Campendonck. - Beltracchi also succeded in faking the regularly asked previous history of the paintings.
  4. JacksonMaberry

    Urban Luthier's Bench

    Plenty of good baroque bridges available from the usual suppliers - Despiau, Aubert, Milo Stamm. As for pegs, using the simplest looking pegs you can find is just fine.
  5. Roger, to my knowledge made one Testore copy, the motivation beeing to really focus on what a Testore violin looked like. I don’t think that Testores have particularly been copied much, rather that anything a bit rough and ready with imitation purfling has been re-christened, which isn’t what I would call a copy. Beer once wrote a whole book on the difference between Fälschung and Verfälschung. Is the OP violin a “Preuss”?
  6. Try antique orient carpets, Elvis Presley or Titanic etc. memorablia, or basically any antique with a story in addition to ist intrinsic value. Frankenfiddles are more a riddle than a deciept.
  7. jacobsaunders

    1940s Roth violin history and grade

    The reason I posted “the longest ever” Mn post, was because this article was hiding behind a pay-wall, and nobody would have read it otherwise. Although I realise that this is an American, telling his holiday anecdotes to an American audience, I find it very interesting in how it reveals the tensions between the old established Mittenwald violin making community, and the refugees from Schönbach (and area). One should realise that the Mittenwalder had traditionaly lived, not only from violin making, but also from tourism and agriculture (and dress making it seems), and not only did the Schönbacher undercut them seriously in price, but they filled all the availiable beds! Imediatly post-war, nobody was really buying violins, except perhaps the very cheapest ones, and since Roth (for instance) had primarily lived from the export to America, it was clear that it was advantageous to them to move out of the Soviet zone, and that business was slow in the 40’s.
  8. Andreas Preuss

    Sunrise auction in Tokyo online now

    Not quite right. You forget about the risk not selling at all which is for falsely labeled instruments higher. If the average in your assumed profit (25%) of unsold instruments is below 20% you win otherwise you will loose money.
  9. David Burgess

    Alternative bridge materials

    I've tried a bunch of different materials for bridges, including fiberglass-skinned balsa-core, and soft maple with carbon fiber reinforcing strips, and didn't find any improvement over conventional bridges. Of course, part of the problem may be that maple bridges have become our "reference standard", so anything which sounds a little different may not be recognized as an improvement.
  10. Today
  11. Urban Luthier

    Urban Luthier's Bench

    I started to so some research on baroque fittings and I'm having a hard time tracking down baroque style viola fittings. I will make the tailpiece. Does anyone have a reco for good quality but affordable pegs and bridges? At this point I may have to cut my own bridge from a blank, but I have neither the toolset nor the skill to turn my own pegs. Since this is my first go at a baroque instrument, I don't want to spend a ton. Any recommendations would be appreciated!
  12. Andreas Preuss

    Alternative bridge materials

    Would be interesting to know with what kind of materials for the bridge you tried to hit the boundaries.
  13. Thomas Coleman

    Gift Box

    Do you need my address?
  14. Don Noon

    Alternative bridge materials

    Too much mass is detrimental. You can minimize the mass near the top of the bridge and get something that's too harsh and scratchy... too "unmuted". It's all a balance.
  15. Ron MacDonald

    Happy Birthday Ida Haendel!

    Heard her in 2005--she was as good as ever!
  16. Rue

    Sunrise auction in Tokyo online now

    I asked a similar question and the answer was "it will sell for more". Apparently, all the fake labels will get the seller a bit more. Guess it's rather lucrative when you add it all up. Ex. Sell 1000 violins correctly labelled for $100 each = $100,000 Sell 1000 violins with fake violins for $125 each = $125,000.
  17. Marty Kasprzyk

    Alternative bridge materials

    I've made bridges with widely different weights out of: Balsa wood, balsa wood with graphite fiber reinforcements, paulownina, spruce, maple, mahogany, and rosewood. These have all been made with both horizontal and vertical grain directions. Except for the rosewood ones I put CA glue on the notches to make them harder. The rosewood ones have to be made quite thin to keep their weight down. I presently use mahogany ones because of their darker color appeals to me although the rosewood ones look nice too. They all held up the strings well.
  18. Brad Dorsey

    Alternative bridge materials

    It seems to me that mass near the top of the bridge is detrimental. The easiest way to add mass to the top of the bridge is to put a mute on it. We do this when we want to severely limit the sound output. So we can conclude that mass near the top of the bridge should normally be minimized.
  19. Brad Dorsey

    1940s Roth violin history and grade

    I've also wondered about this. It seems like I've seen a lot more Roths made in the 1920s than in the 1930s.
  20. Don Noon

    Alternative bridge materials

    I have tried pushing the boundaries fairly often on violin materials, and the usual result is that "ultra" anything ends up out of balance in some way and plays or sounds abnormal (undesirable). A maple bridge can be carved in different ways to make them lighter and stiffer. The fact that they are the way they are on good instruments I think is evidence that you don't need or want to get too extreme with it. Everything is balance.
  21. Blank face

    1940s Roth violin history and grade

    Wechsberg had an interesting life, some informations are available here http://www.josephwechsberg.com/html/joseph-wechsberg-biography.html#GermanBio but nothing about a Guarneri novel. Hard to tell what's fact and what's fiction within this report, but I'm supposing that the author spent some more time in Mittenwald and with the named makers (as an assembly of archetypical characters) than just the one day he's describing. To add something to the OP question, there were some more factors than the war why there was a decline in production in the 1930s and 40s. The Black friday depression hitting them badly and the Nazi idea of Autarky, leading to the restriction of im- and export, or the Arbeitsdienst which made most of the former violin makers to construction workers, as decribed in the text, before they became soldiers finally.
  22. Christopher Jacoby

    Are violins the most faked objects ever? Seems super crooked.

    Bass, the point’s been touched upon a few times already— cabinetry, chairs, etc won’t have a label, besides makers marks in discreet places, the same as Violins have makers marks and signatures in discreet places. Identification is not, and never has been predicated upon a label, in and by woodwork, or craft. i have a small collection of real labels from Italian and French makers whose instruments were totaled, and in one case, the parts had been parsed out into composites. I have a small collection of examples of 16th-19th century laid rag paper, and find all of it fun, and part of the fittings of a non-modern fiddle... Lots of modern makers have labels that would pass authenticity tests by carbon dating, ink composition, material, font, et al. Labels are a hoot.
  23. Christopher Jacoby

    how to color bow hair

    Vi— we have a few folks that get their NFL colors in this neck of the woods, but it’s mostly pink, purple, or rainbow. We use the stuff Jerry offers through triangle Strings— chromabow. It’s nice, you should grab a hank of rainbow
  24. Florian Schneidt

    Hill slide on A. Vigneron ?

    I have a question: when did the Hills come up with the “Hill-underslide”? Before 1924 or after? A. Vigneron died in 1924, did he make or could he ever have made a bow with an hill underslide? Thanks for any expert opinion! Florian
  25. Well, if Roger made it, it may be just as good as the real thing Off topic: it seems he is about to put a 20 min video about violin making on his site. However there are some copyrights issues with the music, so he cant just publish it yet.. can't wait to see it.
  26. Wood Butcher

    Tonerite use

    I might have read this all wrong, but if the new cellos are so dull and solid, that it takes 3 days with a vibrator to make them start to sing, maybe you should consider some different brands of cello?
  27. Andreas Preuss

    Alternative bridge materials

    Years ago Despiau had bridges of plane wood in their catalogue. It might be interesting to try other hardwoods. Beech, boxwood, plane and Japanese momiji maple. Other than that I wouldn't go for ivory or something too heavy maybe the ultimate solution for an ultralight unbendsble and good sounding bridge is in a composite material.
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