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kevin Prestwich

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    Boise, Idaho

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  1. Hello all! thank you in advance for taking a look and sharing your knowledge. Can someone please help with any info on the origins of this violin. Pictured is the only label. Repair label or repairman writing on top of makers label?
  2. This is one of two violins brought back to the U.S.A by an American soldier after WW2. It bears no label. I’m trying to learn of its origin. Can anyone help? Came with a cool bow as well. Thanks in advance.
  3. I don’t varnish under the fingerboard but I do darken it considerably. The end result being less varnish on the top and having one varnish free area seems to allow the top to vibrate a bit more freely and a bit differently than If coated edge to edge. I do apply my ground and sealer coat there.
  4. I asked a famous maker and teacher this exact question and his response was that the top was responsible for at least 70% of the tonal output of a violin (Personally, I put that number higher than 70%).Top wood is one of the cheapest things to buy when building a violin, around the same price as a set of good strings. That being the case, why not get the very best wood that you can find, based on whatever criteria you may have?
  5. I’ve been seeing some really nice rosewood here in Laos. Beautiful stuff.
  6. We’re headed to Hanoi in 3 days. I’ll definitely try to find this place. Thanks.
  7. I’m in SE Asia right now but Glenn knows the log really well. Glenn, did you test the SG on this log?
  8. Thanks for all the ideas. I’m in Laos now and am late for my boat down the Mekong River! I’ll keep an eye open for this stuff!
  9. Here are a few that I got from Glenn at Singing Tree. However, I’m a bit foggy on the slab vs quarter cut distinction. It seems that the flame here straddles both in certain aspects. The piece on the right appears a bit slab cut on the left side and quarter cut on the right side. I’m referring to appearance of the flame only, of course. Manfio, would these need to be cut thicker as you mentioned above? Whatever the case, it’s pretty badass wood.
  10. I had two of my violins hanging around for about 6 months. I attended a varnish making and application workshop with Terry Borman. I revarnished both of these violins and they both sold within about 4 days. They both sounded much better with a “lighter impact” varnish system. I say system because it’s not just the ingredients of the varnish but the manner in which it is made, stored, applied, removed, and so on.
  11. I’m currently traveling in Thailand, Laos, Vietnam, and Combodia. I love mission oriented travel and I’m wondering if there are any things I should keep an eye out for that can be used in Violin making, bow making, varnish making? I’m thinking along the lines of gums, resins, wood. Items which can be legally and ethically exported. Thanks.
  12. I supply Engelmann Spruce that I cut myself in the mountains of central Idaho. It's pretty good stuff. https://www.facebook.com/tonewoodviolin/ https://www.prestwichviolins.com/ https://www.instagram.com/45thparalleltonewood/?hl=en
  13. Hey Thanks guys. As for the name in there. I see the village where it was built. "Erfurt" but I cant figure out the name that ends "S****neider"" or something. Here's a better pic. Old German.
  14. Can anyone help with identifying this violin? Any assistance would be greatly appreciated.I believe the small white label is a repair label. Thanks!
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