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Everything posted by arglebargle

  1. Lyndon, based on past experiences with you, I know for certain that I am not going to change your mind. But... I find your analogy very weak, and I fundementally disagree with the notion that "alot of these older violins are national treasures" and maybe "need another 200 years to open up." A national treasure is a national treasure and can be easily identified as one. A pre-WW2 high end Juzek is a nice violin, but not a national treasure, just to pick the first name that comes to mind. And another 200 years to open up? Really? I love violin family instruments and instruments in general
  2. Lyndon, I asked the question making certain assumtions. One of them being that the person undertaking the operation is very competent and knows what is what concerning the origins and value of the violin in question. Obviously a rank beginner or a fool could do all manner of damage. The original question was about the morality of altering violins, not the competency of the luthier. I don't think that any violins should be worked on by ham-handed hacks. If you are the owner of a violin, trying to sell it, then your job is to make that violin as attractive to a player as you possibly can (
  3. Keeping in mind that violins are essentially tools for musicians to use, I have another question: If you have an older, authentic violin in the 5-10k range (pick your maker/brand) that has sat in your shop for years, and every player that tries it doesn't like the sound, the playability being fine, and the thicknesses of the top are excessive and the bass barre "funky" etc., is it o.k. to re-graduate/alter the interior and original work in an effort to make the instrument desirable to a player AND get some of your original investment back? (Sorry for the run on question ) Wouldn't
  4. Don't forget this one. I went to check it out years ago and was very impressed. Circumstances did not allow me to attended, but I really liked the feel, the course structure, and the class size. Good performance and serious effort is expected from the students, and it's in the middle of no where, so it's hard to escape!
  5. DBurns, I'll try to get some up, but a very detailed description can be found in the magazine. It's worth picking up.
  6. I just made the cello cradle illustrated by Guy Rabut in the Sept. 2011. issue of The Strad. Color me impressed! Very simple, easy to make, and very effective. I haven't tried it with real pressure, i.e. arching a back, but with a few tweeks I think it should work just fine. I have a violin/viola cradle that I have used for years, but I plan on making a couple of these anyway. Good stuff. Thanks Guy!
  7. I would recomend making the scroll/pegbox out of the same wood as the back, but graft it onto a maple neck. It's a pretty look and your players will appreciate it.
  8. I'll second that. As soon as I see his name, I know nothing good will come of it. It's very frustrating. For someone professing a deep interest in Buddhism, Lyndon seem to have a stunning lack of self-awareness. Sad, really.
  9. My first impression is that the shop owenr was right. It looks like an American to me. The edgework and the corner channeling, for one. And the back looks like American maple all the way, specific to the Northeast. Good luck, it's a nice violin.
  10. Thanks Jeffery. Duly noted.
  11. Thanks for the info. I typically leave the back of a violin bridge flat, remove a tiny bit from the back on a viola, and about 20% off the back of a cello bridge. I'll try "chesting" the back of a violin bridge next few I make. I've gone through some old violin bridges from various maker I've collected, and it seems to be about 50/50 flat backs vs rounded. Here are a few pictures of one of my recent bridges. Comments are welcome. Thanks!
  12. Thanks guys! Jeffery, how much wood do you take off the back, percentage wise? How much of a responsibility does the player have for maintaining the proper bridge position? Do you explain to every customer how to adjust the bridge?
  13. Hi all. I'm curious as to what methods or precautions others use to prevent or alleviate bridge warping, particularly in cello bridges. There seems to be no rhyme or reason to it. I have made cello bridges that are still standing tall years later, and others, cut the same way, that are warping after a relatively short period of time. There is one violin in particular that always seems to have a warping bridge, no matter how many times I replace it. Other violins have the same bridge years on. Are there setup/ construction issues that make an instrument more prone to warping bridges
  14. [/quote) argle i think youre dreaming if you think i crave attention and recognition, im just so used to being completely ignored that i "talk" really loud so people will at least get to hear my two cents worth, im a very small time shop and refuse to consider myself remotely qualified to be working on really expensive violins, like some of the top makers/restorers on this sight, in my part time apprenticeships i worked for three not so top makers, though there all in wenberg, after 10 yrs in the buis, when i finally decided to actually learn to make a violin, i studied with ruth evans, w
  15. Hey Lyndon, here's an idea: Instead of whinning about ebay auctions and how unfair and unjust it is that P Hound gets any business and you don't and on and on and on and on, why don't you SHOW us some examples of the fine and accurate violins YOU have for sale, or have sold? I assume, you being the expert you are, that you have a photo record of every violin that has passed through your hands. That would go along way towards establishing the credit and recognition you so desperately want and feel you deserve. Rather then piss all over everyone elses merchandise, and call into ques
  16. *sigh* A professor, no. Lyndon, I think you are a self-important blowhard. You started this thread trying to discredit a label in a violin on ebay, and when everyone didn't fall in line with your opinion, out came the claws. You went on to disparage the seller and the restorer and anyone else who disagreed with you, and did so in a rude, vulgar, and childish way. You are not a professor of any sort, and I feel NO obligation to prove anything to you, much less be "educated" by you. You are not some wise, all knowing sage of the violin world, you are a bully as far as I can see.
  17. You think quite a bit of yourself, don't you? It must be exhausting not to have everything that flies from your fingers taken as 100% true and accurate, not subject to doubt or conjecture. One day "all of you guys", that is, us, might achieve the level of infallability that you have, but until then your patience is appreciated. Again, Good luck to you, though it doesn't sound like you ever need it.
  18. Nope, not connected in any way, shape, or form. My choice to remain anonymous is for a purely business/professional reason, and should have no bearing on what I say here. Your distain of early American violins, your lack of experience with them, and your sweeping generalizations about early American makers says all that needs to be said about your comments regarding the violin and label in question. Good luck!
  19. Lovely. Just lovely. Well I also just got of the phone with a "top expert" who told me that it was totally right and you were wrong. So there Also this "top expert" was very appreciative of me asking him to spend his "top expert" time looking at a violin on ebay/maestronet. Being a "top expert" he certainly had nothing better to do. Lyndon, I would direct your attention to post #43.
  20. Whoa now. When did Brad ever say that it is "typical"? And Lyndon, the fact that Brad has seen, held, and worked on this very violin carries alot of water for me. Maybe he is wrong about the violin, or the label, or not, but I'll take the opinion of someone who has had actual contact with an instrument (or anything for that matter) over the opinion of someone looking at a picture on a monitor on the other side of the country any day. The label doesn't look as clean as you say, how do you know that is a clump of "dirt", and the back doesn't look all that dirty to me. AND you have never
  21. Brown for me! On my screen, it is clearly faded to brown, and does look 100 years old. Besides that, it is also clearly (to my eyes) an early Boston school violin, and very likely a Walter Ropes. A nice fiddle all around.
  22. I will certainly keep this in mind the next time I am working on a Strad!
  23. Seriously though, I find that they are two sides of the same coin. One is seriously lacking in this field of one doesn't have experience in both. Perhaps the maker is at more of a disadvantage for not having strong restoration skills then the other way around. Making 10 violins is a great start. Making 10 bridges and fitting 10 sound posts isn't a start at all.