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  2. Do you have photos of it?
  3. Danke! Enjoy your Liegestützen! And back to topic, with these crappy photos and spurious labels (produced by the same hand?) I’m getting a strong Reghin fake feeling and would rather prefer a HD Schutzmarke (Heinz Dölling). With this you’d probably know what it is.
  4. Today
  5. In my world, most things are worth fixing... I've fixed lots for free so a poor and disadvantaged student has something to play. In your case this was Grampa's bow, so for me , that in its self is worth the fix ( likely under $100) and more. Most of my customers love "the story " behind their violin or bow ... even if they don't know the real story... the markings, chips and wear can create the story you tell! Like the music, its all entertainment! Cheers, Mat btw...with quality hair and quality work, some of those factory Tourte bows can play rather nice.
  6. Some violins have on the back below the button a rather large branstamp BOCQUAY. As it seems from the book by Sylvette Milliot this brandstamp was used by Jacques Bocquay himself. But were there any later makers who used the same brandstamp? Does anyone here have more information? (Sometimes brandnames were sold to a successor and this maker legally used the stamp.)
  7. one thing you can't do is just plop your money down and figure you have a winner
  8. The photo makes it look more interesting than it actually is... it’s nickel and that’s moodg. The bow is a run of the mill “not worth the cost of repairing” or that’s what I’ve been told by a trusted shop. So, of course, I’m going to teach myself to do it... I was mostly interested in what the number meant but here are a few shots. I’m assuming it came with the fiddle and my g-pa was pretty tight with the money so it fits with what I was told about it.
  9. Mischa Maisky is looking more and more like the Gene Wilder of Young Frankenstein...
  10. I am making a violin with Engelmann spruce top. Would it typically be made thicker than European spruce I have used before? It seems fairly soft and light. What would be the general thinking on this? Thanks, Rich
  11. I'm no expert violin wise. I'm not even a "talented" amateur violin wise. But I've been buying (and selling) on ebay since 1997. Anyone who thinks there aren't treasures to be found at both fair and ludicrously cheap prices on ebay is a person who doesn't follow the venue regularly. My best buy was a French bow for $60 that brought $8000 at auction (it sold to dealer). I still have 6 or 8 silver mounted bows in excellent condition that cost a fraction of what any shop would charge. But that's just my experience. Ebay is the greatest thing since sliced bread, collecting wise.
  12. value has nothing to do with tone in violin land, think of violin land as a specific antique market where primarily Italian instruments from particular makers from particular time periods are what violin land is primarily about as far as "value" ie. things worth lots of money....once something is Italian and from certain people and certain time periods, then you can start talking about tone in that context....tone outside of value has intrinsic value as far as a workers tool is concerned.Many pros have made their bread and butter with a 2k German instrument because they work and sound good. actually does have some to do with value,but mostly more in the working class instruments
  13. you're misunderstanding a bit. being factory made doesn't make it crappy; rather it's crappy because it's factory made when people talk about quality they're talking about price (99% of the time). for violins, factory-made translates to very common, so not pricey
  14. Andrew, do you mind sharing it with me as well? I was always told that the balance point of a cello bow was 9 inches exactly from the end of the stick, 9.25 inches when you include the button, And in my own experience I found that to be reasonably accurate. I have played at least one nice old French bow that felt wrong, And I learned that the balance point was a little forward of the norm, but I would love to have your information if it is something that a Layman could understand.
  15. "it doesn't have to hold it's own in a concert hall all by itself" Totally agree Alex. Although many guitarists have been trying to play scales like the violinists.
  16. Thanks Doug, all good points. My frustration lies in not being knowledgeable enough to know the difference between a real old violin (18thc) and a late 19thc. I'm getting better, but I still buy too high. One factory made I did purchase is German I'm just not sure if it's Mittenwald or Markneukirchen. Again, factory made, but decent....I think.
  17. I'll take this a step further. It's not just that guitars are generally mass produced/factory made. But there is not even any real demand for anything else. Sure some high end, hand crafted instrument makers exist. But yet professional musicians often pass them over for a regular old $800 strat or $1500 les paul. Clearly a large reason for this is because of all of the signal processing that goes into guitar music, the tone of the pure instrument is less doesn't have to hold it's own in a concert hall all by itself.
  18. I also recently discovered the Aria from Samson and Deliliah by Saint Saens that was transcribed for cello and actually performed it at a recital. The first time I heard it I instantly fell in love.
  19. You have totally the wrong idea about what you are calling "factory" violins. These are really better called cottage industry, where only parts were made in the cottages. The parts (of varying quality) were assembled by the thousands, in mass production shops. This is nothing at all like factory guitar production. These violins retailed for $5-10, after being imported from Germany. Low price was the driving force, and the quality of some show it.
  20. Taken with the markings on the frog, it seems to be a set of silver hallmarks, but not one that I recognize immediately.
  21. I'm not saying anything to knock him, I just don't know anything! :-) DLB
  22. I've spent a fair amount of time trying to figure out whether Gadda's chicanery will help him or hurt him in the long run - after all, we know that Lott and the Vollers ultimately came out on top.
  23. I never know what's going on with Gadda, I'm just clueless on 20th century Italian instruments. DLB
  24. This is wonderful. Plus she’s probably dancing around doing stage business while she sings.
  25. Yesterday
  26. Sounds great for a small viola, but a great player nonetheless.
  27. This one impresses me as the most delightfully entertaining offering. Be sure and read the Gindin certificate, too.
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