duane88

Petr Buchinsky is up there as well. Rue, they come out in the summer for the AK Folk Festival and such. A friend played at a chamber music festival for years. In the winter. He said that the first was the worst.

I have a thriving clientele who come down to Seattle and carry them back!

That's the only fix. You could bush both the A and D and move the D slightly down and the A slightly up, but that might put the A peg too close to the top of the pegbox and increase the risk of an A peg crack. Some peg boxes just have a sexy curve to them that makes it difficult to have the A and D strings not touch. Some older (18th c) German instruments had a cross bar that the D and A rode over to keep them from rubbing because of the swoopy shapes of their peg boxes, although I don't really suggest drilling holes in your peg box for such modifications. If they really worked well, we would still be using them.

For Classical players, 3.5-4 for the E, 5-5.5 for the G. For fiddle players using steel strings I have gone as low as 2.5 for the E and 3.5 for the G, but that requires that the fingerboard and nut be the right shape. Bottom lines: If it is not buzzing and rattling when you play, it isn't too low. I might not be willing to stamp my name in a bridge that is cut as low as you want it to be, but that doesn't mean that I won't cut you one. If you went in to the shop with complaints of buzzing and noise when you play, and they consider the bridge to be too low, maybe it is. I guess that my question is why did you go to a different shop and ask for an evaluation of the instrument/set-up when you had work done by someone else a month before? If you don't bring it back to us for adjustment, how do we know that you don't like it?

Just remember that the rib joint is not always the center...

A variant of normal.

I've used them in Hardangers on which the hole in the tailpiece is too small for a tuner anf the owner won't allow me to drill a larger hole.

I am always pleasantly surprised when I find a beautiful head on one of these. Sometimes the head does belong on another instrument!

no chance.

What would uncle Strad have said? I heard this on the radio this am, and I heard "Yanny". Back to what color is the dress... Edit: I just went back and listened to it through an excellent pair of headphones, and I still can not hear the "L". I still hear "Yanny".

Perhaps a more appropriate label:

The Jackson-Guldans all have that problem, I suppose as a result of their construction. Unless you are emotionally attached to the fiddle you should consider another instrument. You could purchase a decent Chinese violin from Dustin that has been set up properly for not much more. I did all of the things that you said that Dustin suggested to a Jackson-Guldan recently, but the owner came in and told me that he knew that it wasn't worth doing all of the work, but it was his mother's violin and he wanted to play her instrument.

The Guarneri family, I am told, had a timeshare in Germany (no, not the Venetian part...). Perhaps it was constructed on a summer vacation at their timeshare home.

I think that the goal was mostly to make things as symmetric as possible. Then they distort. Amati/Strad, and a few others, perhaps were able to achieve something much closer to symmetry. del Gesu, Storioni, and others in that vein, either saw something different, or just didn't think that it mattered. There isn't anything to look at that has escaped the ravages of time and tension, not to mention "repair" and "restoration". Who knows, they may have all been crooked when they were made!

Yes, I made the mistake of using it on the interior of an unsealed instrument. The wood was more porous than I thought and it peppered through to the outside, little pox-marks on the ribs and worse in the end-grained areas of the back.