colledge

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About colledge

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  • Birthday 09/18/1973

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  1. One of the first things I ever did on a violin was the fingerboard. It was a Chinese rental straight from the factory. The sides were straight, and it needed to be shaped to the template and given the proper scoop. These things had to be done and checked separately because the sides were straight. But when I started making instruments, I learned that if you give the sides of the board the appropriate scoop first, you are automatically adding the overall scoop to the board when you shape it to the template. Of course, with an existing instrument one has to decide if doing this will create a lot of neck reshaping
  2. Ground color on the orange side of acceptable range, but definitely ok. Color coat looks great. Antiquing very natural and organic looking. Nice texture. Looks great. It will certainly satisfy the prejudices of the musician who wants an antique.
  3. My statement doesn't necessarily apply to wholesale. I do a little bit of everything, wholesale, consign, direct. Factoring in how fast you need to sell applies mostly to a consignment because you are putting that in someone else's hands. Like Joe's example you want your quality to be compared to instruments far more expensive. Of course getting the salesman to show your instrument with the more expensive ones can be difficult which is why you have to get out there yourself. By the way, your consignment arrangement works well because you work there and can monitor it, even sell your own instrument. I often only consign with smaller boutique size shops where everything is consigned because many shops won't show consignments to people with trade in credit becasue they'll end up doing the transaction with too little cash flow giving you 70-75% and eating the trade in out of their smaller cut. Often it is better to wholesale it and move on that way the dealer is invested in it, they'll show it, and they can't take the house of cards they built with trade-in credits out on you, or they can becasue they gave you less, but its a win-win because you got paid and can move on. But whether consigned or wholesaled, you're gonna make another, so you want that instrument to move along so you can give the dealer another. I think that how fast an instrument sells is mostly affected by the deciding factor of how good is it compared to others in the price range, and how many players are in that price range. For every 10K you add to the price of a violin, your number of prospective buyers goes down by a certain number. If you can compete in a higher price range, you'll see that money when you sell, but you'll spend more time making one instrument and even more finding the buyer, or dealer finding the buyer.
  4. I think the question is where to set the your market price, not how much to charge for certain features. Also, that is ridiculous. A maker who cannot find a center line probably can't join a plate either, so they should be the same price. And in the case of that maker, very inexpensive.
  5. Noah One factor I add to all of that is. How fast do I need to get paid? I consider myself a working class maker who needs to sell my instruments within a reasonable time, and I consider this in my prices in aiming it at the largest market. The Landon example shows how he is set up to find that one customer who will pay that, and I have to make ten and find the ten who will pay my price. It probably takes the same amount of time, except I have to make ten or is it I GET to make ten ? The needs of the players in these markets are obviously different. Assuming someone like Landon's instruments are 7 times better than mine, part of me would rather be putting ten instruments into the market than making them acceptable to the the far smaller number of people who will pay that much and then go find them and convince them not buy an antique
  6. I understand. Thanks for the pic.
  7. Roger I have really enjoyed reading this thread. Thank you for your writings and for sharing info on this beautiful bass. There have been discussions before about the Amati purfling and its deviation from the edge into the corner. I have looked but never found anything where you might have shared your theory on this. I don't want to turn this into a free for all Q&A but would love to hear your take on it since your are talking about the order of the way things were done. I was taught and agreed with the possibility that the logical, natural steps causing this would be for the initial outline to have been drawn with additional overhang and purfling set based on the corner distance, and then final outline after purfling, which brings the purfling closer to the edge. In photos it always just looked to me to be to continual to have been deviated by hand. Do you think it was just deviated when marked and cut? If you've written on this subject and I've overlooked it I apologize
  8. I use Hammerl, and I pretty much get all of my materials from International Violin Company. I can't make a living at this paying a lot of money for varnish, especially on cellos. Hammerl is cheaper than all of it. It is fast drying. If you are experienced, you can brush it on right out of the can, if not you can thin it, or buy some brushing time with a little bit of oil or thinner. It'll be dry from a dry box the next day. I do not recommend using the colored ones. Get some clear varnish and learn how to manipulate colors. I support the notion that it is more how you use it than what you use, within reason
  9. I like to think that I am contributing to and drawing from a massive archive of answers in this complex trade. I must say I haven't really noticed the negativity people are referring to, but maybe they are in posts that don't interest me. Doesn't the forum have a way to block the view of a certain poster? If people just block those who lack social etiquette instead of engaging them, things don't get elevated. These features are in other social medias and I use them all the time before making an ass of myself.
  10. I was taught to spot glue the board on 2 mm back from the final position when shaping the neck. That way, when you glue it back on in the final position, you are either right on or the ebony is overhanging
  11. I remember M Darnton explained to me a system of questions that Robert Bein would use and teach his staff. Starting with What Century was it made? and ending with Who made it? Something like that. It may have been discussed here before. Many questions in between, but not a process that requires anything academic. If that is all Bein used himself, then the rest is just talent, confidence, honesty, a photographic memory, and a large photo archive. The last thing being something that has been left out of the discussion. Even the best experts have a massive photo archive to refer to, not just with standard photos, but photos that answer these questions. These things build with the gaining of experience, not the completion of a course.
  12. Inspired by MANFIO, I paid a photographer friend to shoot my latest cello. You can see it at http://smu.gs/LRcA0Z It is his first musical instrument. I think he's into it. MANFIO I sent him to your site for ideas. Hope you don't mind.
  13. I think it was. What weight / density algorithms were you using?
  14. I learned that the numbers cited are on the conservative side, leaving room to check this, but this is another good reason for a profile template that brings you close, but heavy. David, in an effort to not make assumptions, are you saying that you just weigh and flex your way to a final bass bar shape? Is there any restoration shop in the world that does not give their people a number to go to?