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Everything posted by welshman

  1. there are species of spruce that have a distinctive odor - white spruce is nicknamed "cat" spruce because of it cat box smell. I hope this isn't the one in your case. reese
  2. Thanks to all for the informative replies, i think I have enough to work with and I will take ifshin's offer to try the Hart viola d'amore. I will keep all of the info on hand as I do come across students from the area music programs for just this sort of things. Other things seem to have gotten off tract, might be best to call a halt. Reese
  3. Well guys, thanks for all the replies, didn't want to create such a disturbance in the force so to speak. I sent this link to the player in question and she has been reading the information, it looks like she managed to find a loaner for now while she explores the playing and music, will decide at a later date if to pursue finding an instrument. there are old ones in need of restoration at a North Carolina auction right now too. thanks again, Reese
  4. Actually had the thought that if anyone does have one hanging in the shop gathering dust and is coming to VSA in Cleveland i would be pleased to meet at the convention and seeing if i can arrange getting it to the player. Would like to meet Mr. Monical in any event, since the idea springs from the teacher I assume he/she will be involved closely. Family lives in Oberlin so perhaps Georgia will be home for the holidays. Reese
  5. Thanks for the quick response, should have known there were online groups, I will investigate and pass on any ideas to the player (in Boston at college right now) and yes a budget will be in play to a certain extent - hopefully more than a chinese price. Reese
  6. A bit off topic but i have a client who plays the baroque viola and her teacher wants her to learn the viola d'amore. i have worked on these but have no idea where she might find one. Any suggestions or leads could be sent via PM and i will forward them on thanks for any and all help Reese
  7. My experience with GWH leads me not to expect a label or at least his label. I worked with a dealer while living in New York who brought me a violin to work on, he was very excited as it looked like a "real Italian" with a spiffy label. when I opened it up it was clear it was not what it was advertised but a "copy" by George Wulme- Hudson. it was nicely signed and dated on the rib but in a place impossible to see from the f-holes, now with the various scopes we have now it might be visible but then it took opening up the body to see. I gave him photos and i hope he did the right thing by i
  8. Well it looks nothing like the Freddy Gagliano I take care of for a player in Erie, his is a much fuller arched body and the varnish much more refined. Sorry i don't have photos to look at and I am going by my memory but from what I can remember the model is a high arched model very full all the way to the ends and a golden brown varnish unlike these photos. hope that helps and yes the Erie player's has been certified Reese
  9. I have fixed a couple of cellos with bass type machines - most of the time they are taken off and "normal" cello pegs installed, the old machines were too loose and rattled, didn't allow for fine tuning - but I did keep them on one old cello, they were in good shape but the rest of the cello needed a lot of work, reshape the neck, ebony fingerboard, body repairs, upgrade to endpin, new bridge etc. My comment would be to be realistic as to the amount of work to bring it up to modern playing standard. In the last example above it was a cello bought cheap at an estate sale but after time, repai
  10. My daughter's 1/8 measures 150mm or 6 inches in the lower bout, at 4 3/8 you need a 1/10 or 1/16 but even that makes little sense - her 1/16 is 122mm or 4 7/8 inches (overall length from scroll to button is 350mm 13 3/4 inches long so need to check that too) can you post photos and more easurements? Reese
  11. Well, all of their spruce from fallen trees might be a stretch - I didn't see that in the video or about ebony, is there another? More than likely the cutter is an independent contractor, one of many, searching the woods for the right log, fallen or not, harvesting the wood would take a lot of time and effort but if their are lots of them then the supply would be steady. Reese
  12. that type of graft could have been done to reestablish neck width at the nut - perhaps there was a lot of wear at the thumb placement or the original neck was deemed too narrow? Reese
  13. David, a few points from one with a forestry degree or two tone wood is a specialty harvest so a windfall of old growth logs harvested as a salvage operation would be a "windfall" of opportunity, low cost for the logs, no cost for felling the tree just cost for bucking them into workable sections and only doing that for the best sections of the tree. working the trees in site means leaving the waste in the woods, no cost to bring what you don't want out to the landing the helicopter was pretty small so lifting load is small, it couldn't have lifted the whole log if it tried the steep
  14. Those are generally accepted guidelines that will vary with string type - steel strings will require less clearance - gut strings may require more. The height varies from string to string based on the vibrating envelope of the string - the space the vibrating strings needs as it is played, if you pluck an open string you can see the 3-d space it creates, string buzz comes from the contact of this envelope with the board or bump or the low nut etc. It also depends on the attack and pressure on the string, if you are a delicate player and not trying to play loud you can get by with lower strin
  15. I have worked with a few tall players on this issue, the Stahlhammer endpin is a good solution, raises the cello but keeps it in a controlled position - not at the end of a spindly rod. If you use a standard endpin opt for a larger diameter, hollow rod for stiffness. an adjustable chair height with a wedge pad will work well, keeps your legs from being cramped (I also am 6'4" so i speak from experience) i know members of the Cleveland Orch. who are taller than I and when playing sometimes stack two of the stage chairs together and use that to get added height. consider headless pegs on the
  16. more likely poor quality control and inspection before they were sent overseas to be set up at a place like Sherl and Roth here in Cleveland. Perhaps its just a case of Monday morning work after a weekend of partying. There is no reason to set the neck so low consistently - what i see usually is a very high string height over the board in an attempt to make them work with out resetting the neck. I just see too many of them for it to be an accident, it is just incompetence. It is the first thing i look for whenever one of these comes in the door. if it is what you can get inexpensively enou
  17. what i mean is that the neck is set wrong from the start and it is just a big mistake that is repeated without anyone in the factory noticing the machinery is set wrong - and it seems common to these instruments (seidels) as well as pfretschners and other factory builds. I have seen short squat bridges that make it very hard to clear the c-bout, the strange thing is that these can be decent violins with a correct bridge height. Reese
  18. I will forward this blog on to the Curator of the collection as i have done with others, Barbara does check them out and is interested. We will see if the collection has anything like this and she may be in contact. Reese as she said last time "Who are these guys?"
  19. I do see a lot of these - mostly stacked in school closets after being beat to death or the school's program cut. $100.00 is the upper end of what I would pay at a yard sale or auction and only if it is in really good shape, strictly a rental or raw beginner instrument for me to get into, what i see most often on these is a clunky neck set at a ridiculously low angle which means a neck rest or neck modification. i don't know why these factory made violins can't get that right, they make enough of them. Reese check the bridge height in other words.
  20. I am just thinking that this is yet another violin that the Selch collection's curator would like to see, i am also wondering if there is anything like it in the collection, there are some weird scrolls and necks in there. It looks like the ribs are inset at the neck, is that the case? Having the ribs set into the corner blocks is unique and very cool - something a cabinet maker could come up with I would think. I for one would like to really photo document this one, inside and out. Do you plan on fixing it up to play? Reese
  21. I hope everyone had a nice July 4th, we had a blistering hot day followed by thunderstorms that for the most part missed the fireworks spots. My family went to near by Lakewood for a picnic and to watch the storm clouds sweep in off the lake, no rain but some high winds to be concerned with. My girls got a little bit of fireworks then apparently the electronic firing system fried and the rest was canceled, the lightning shows were something though. My post is actually about the music program as the prelude to the fireworks, the local high school has a very successful music program that is gr
  22. By the way Glenn, I asked and Barbara said the Selch collection came to Oberlin mostly because they asked and Vermillion didn't. Also the family asked Barbara for advice on what to do and she suggested Oberlin and the college was all for it as it meshed with the College's history and music programs, they were around for the underground railroad and other events in that time period. The college was very enthusiastic about the collection and have plans for it. Reese
  23. Richard, I would guess at a very old Bohemian, but it could also be Flemish by the interior construction, it was very rough inside and the old carved in bassbar had been replaced (butchered) already so cleaning the belly up and putting a baroque size bassbar and a veneered fingerboard to go with the short neck and string length seemed like the way to go with this one - its being tried right now. It seems like it was a good trade for me even with all the work on the top, thanks Richard. saw the Brooks violin in the Selch collection today, it has inset ribs as well but was otherwise a very u
  24. I see a lot of violins with that two-piece neck here in Ohio, Those were made for Thomas Fawick c. 1950's in the Akron Ohio area, mostly they seem to be sitting in lockers at the local colleges and used in the education string programs, in other words not great but serviceable, usually with one piece backs of highly flamed wood but most often with a laminated neck. Fawick picked the wood but had them made in Europe is my understanding. Is that what this is and Tarisio just not identifying it as such? Reese
  25. Hi Richard, well we can dream I suppose, Monical's Shape of the Baroque sounds like it is what your are after, focused on construction details and time periods. The instruments in the collection that i have worked on now have before and after photos, existing condition notes and a description of what I did for the records, also any unusual things I found. some of them have 100+ photos on file. Existing insides are mostly dirt, old glue deposits and "gunk", washing that stuff off revealed some pencil notes and other details. mostly had to clean so I could glue up cracks. Not sure if the colle