Dave Slight

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    Manchester, England

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  1. I used to have hundreds and hundreds of Strad magazines, from the 1970's to the 2010's. I have been giving them all away, and have not regretted it for a second. A lot of info in older ones is not correct, the newer ones filled with more adverts than articles.
  2. Looks like I was wrong. It reminded me of wood I’ve seen sold as Camelthorn, but from what you say, could easily have been something else.
  3. It looks like Camel Thorn. The photos are of a rough cut bow blank. What you are referring to, is the shaft meeting the back of the head.
  4. It's not always a repair. Hill's knew these were vulnerable, and sometimes tongue reinforcements were fitted from new.
  5. As a private individual, things are different. If for example, you buy an instrument which has really worn and broken belly edges, corner tips snapped off, C bout edge chewed up by the bow, varnish completely worn off the upper treble rib, a bit of wear to the fingerboard, bridge a little warped... None of this prevents you from using and enjoying the violin. I can't sell something like that, customers would not accept it, and I wouldn't want to sell anything less than at its best. By the time I've replaced the edges and corners, retouched it all, trued the board, set it up, new strings, new fittings, glued seams, cleaned it etc. There is little to no margin left, especially with tax/vat to come off too. So the boot sale bargain is a good buy for you, not necessarily a good one for me.
  6. Looks like the real thing from here.
  7. That is true, and the right way to do it. I was talking about what Jacob had alluded to. A large collection, built up over the years, buying things here and there. Most of which should have been left there in the first place.
  8. This is a common issue when dealing with probate situations, and can quickly become a difficult situation to manage. On one hand, there is the family, who have for years, been given the impression by the collector that all the instruments and bows are rare, high quality & valuable. On the other hand there is reality, where what you are looking at is case after case of things in a shabby state, with home done repair attempts, which have basically ruined it, or it's all just standard German work, but the collector believed the spurious labels and bow brands. The family have already been planning what to do with their riches, a new car, conservatory, holiday in Hawaii. And then the valuation for everything comes to about 1/10th of what they had been expecting. Watch those smiles fade, and the arguing to start. I think most people who collect really enjoy it, and get a great deal of pleasure from tinkering away, get some excitement from having new toy. I'd say 90% of them are deluded about the true value of what they have.
  9. Are they STL lines on the inside of the coffin?
  10. Carpal tunnel syndrome and square eyes?
  11. I have read the website. I can see this could be applied to new making, I'm not sure the end result would be much like the accepted cremonese arching. With some arching styles, it seems impossible to have this STL in the indicated regions, without abruptly changing the angles, limited in this sense, to only one arching style and height. What would be great, is to hear from Zuger violin owners, and see how they felt it was improved over the violins they played previously. It is a shame there are no pictures of any finished instruments on the website.
  12. Perhaps the design is limited by the gearing? It can only be reduced so much I suspect, in order to still work. They do look plastic because they are, no getting round this. From a few feet away I'm not so sure it's as obvious, compared to holding the scroll in one's hand. I think pegboxes have a tough time anyway. How many were split in the past from poorly fitting pegs being jammed in? Add to this cracks, bushings, worm damage etc, there can be a lot going on (obviously none of these on new instruments). All I can say is that so far, there have been no problems I'm aware of, from increased humidity levels here. I appreciate in other countries, humidity fluctuations may be different to the UK. What you say about the head angle is true, but the tension on the heads is so light, that unless they are at a really unfavourable angle, it's still easy enough with finger and thumb. I think the biggest downside to the wittners is the amount of turning required when changing strings. You really need to use the crank they supply, otherwise it takes so much longer. It looks like they have tried to use a blurry photo of rosewood, but the colour is very pale and does not look right to me personally. On the pegs, only the head is rosewood coloured, the shanks are just black.
  13. I think with any change of pegs there could be a change of tone, how this is perceived will depend on the individual, and their requirements. As I said previously, I have never felt the tone was seriously impaired by the change. While on M'net everyone is chasing the 'ultimate tone', I haven't always found this quite the same with musicians, who in many cases care as much about practicality and stability while performing. It's clear from at least one poster that the idea of these pegs is totally abhorrent to them. My clients range in age from young, to very old. Both ends of the spectrum seem to appreciate Wittner pegs, but for some of my older clients it is enabling them to keep on playing, when their arthritic hands can no longer turn and push the pegs enough to stop them slipping later.
  14. The scroll I posted on page one, was also by Banks. I've now edited the post to show the maker.