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Dave Slight

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Everything posted by Dave Slight

  1. Very sorry to hear this, that sounds quite an ordeal Don I hope your recovery continues to go well, and that you can get back to doing what you love soon.
  2. It appears I’ve simply misunderstood what you meant, there is no attempt to misrepresent anything
  3. Wonderful! Many years ago, a fiddle player arrived at the shop with a violin which only had three pegs. It still had four strings, and was in tune. I always wondered how long they must have spent adjusting the correct amount of string to poke through the peg, so they could tune the A&D strings from the same peg.
  4. I’ve worked on a lot of Gaglianos over the years, but never saw one where there was an attempt to disguise how the ribs were made.
  5. The term, fully blocked and lined is simply toe curling, and shows no understanding of how many violins were traditionally made. I don’t think this term even existed before eBay. As for the inside work, I’ve often wondered if this was done to appease retailers & dealers, rather than players. I’ve been involved with selling antique violins for decades, no one has ever asked if a violin had blocks or linings.
  6. My mistake, apologies for that. Can you explain further please, why you thought in Milan and Naples, they were making an effort to disguise a built up construction?
  7. You seem to have the idea that different types of rib construction methods, are purposely trying to imitate the others. That is not the case. Why would it be? Most musicians have very little idea about how instruments are made, so who would it be trying to impress or fool? Most instruments were made using methods that were traditional for their area. In the early days, very few people built violins on a mould, and it’s use seemed to be unknown to contemporary makers in other countries.
  8. I don’t think that inside mould is ever trying to copy a built on the back construction. The two ideas are fundamentally different, though both were used in volume making, an inside mould offers some advantages in terms on consistency. With an inside mould, the ribs can never get bigger than the mould due to inconsistencies in bending, but even if they aren’t bent 100% accurately, by the time the linings and blocks are fitted, it will be an almost perfect shape, and square to each other. This means that the belly and back can be marked out from a template, which multiple workers could share, cut to shape, edges finished, purfled etc. The plates will always have the correct overhang, without ever needing to check against the ribs. With this method, any top should match any back, and any rib set. With ribs built from the back, inaccurate bending means that the ribs can easily become larger than intended, asymmetric, out of square. The belly needs to be marked from each ribset, in order to obtain the correct overhang, and finished. An outside mould is a more streamlined and efficient way to ensure consistency, with a semi skilled workforce for volume production. That said, in many places where a built on the back construction was used, they also found ways to make the process very consistent too. I wouldn’t say that one over the other yields superior results.
  9. Someone just brought in this cello (which they bought recently elsewhere), because they are unable to keep it in tune. The reason is the pegs not fitting at all. The bridge doesn’t fit either, post doesn’t fit, the strings sound so bright and wiry it is just awful to play, as well as being very high at both the nut, and bridge. I have advised them to go back and ask for a refund, already the place they bought it from have had several tries to make the pegs work and adjust the set-up, yet it appears they haven’t actually done any work, so far as I can tell. I mentioned the cheap strings will be partially responsible for the ear piercing tone, to which the customer says they paid an extra £260 for a set of Evah Pirazzi. Clearly, these are not Pirazzi, just the usual Chinese strings, with green and black spiral winding this time. The Parents who have bought this for their daughter, aren’t musical, and have been totally fleeced. Worst part is the teacher gave this cello the nod.
  10. A genuine Valenzano can be very nice indeed. This, on the other hand, is about the cheapest grade of German violins.
  11. For a total beginner, a staff member at the shop can play the violins for them. Then they will have a better understanding of the qualities, and differences between violins at different prices.
  12. It could become my side hustle
  13. I agree, the wire coming out of the back does make these annoying to fit. I think the OP question highlights the need to discuss carefully with clients, exactly what they need and expect, before starting the work. Hopefully not much height is needed, otherwise the feet might start looking very strange. Recutting the existing feet will lose you a lot of the gluing surface you are going to need.
  14. If the violin doesn’t seem to be performing well, it is a good idea to have the set-up checked first, before spending a lot of money on different strings. If the set-up is ok, or adjustments don’t help, the luthier you go to may be best placed to suggest an alternative string.
  15. I’m at a loss to see how you have concluded this from my words, it was the first time I had posted anything on one of your posts.
  16. Disappointing to see no English violins mentioned, as the Crown Jewels in this fine collection.
  17. Rather a wide range there from the late 1700s to 1950! The violin will be from circa 1900.
  18. Not necessarily. Different countries had their own rules about imported goods bearing the country of origin, and at different periods. That Made in Germany is written in English, doesn’t mean it was imported to England.
  19. When buying from auction, it’s important to understand what you are actually buying. This goes for any auction, but even more so for any type of affordable/T2 type situation. As for your first point, it is clearly shown that there are issues with the head, being both a crack and pins. The pins were the standard type of repair for a broken head. The bow has already been repaired, you do not need to have anything done, unless at a future time they happened to fail. A well pinned head rarely makes a difference to the playing qualities of the bow. A broken head severely affects the value, saleability and desireability of a bow. It can be a way to get a good playing bow, at a fraction of the cost of a perfect example.
  20. On old violins which have been used extensively, it’s relatively common for there to be a significant amount of wear, or rounding over at the top of the pegbox wall on the treble side.
  21. Sadly, almost all branded products are at risk of counterfeiters. You can only be sure to get the genuine article from from a good shop. In the UK, the national distributors only supply registered businesses. There are branded strings & accessories advertised online, which are being sold retail, for much less than it would actually cost to buy them in wholesale. Obviously, this can only work if the goods aren’t genuine. Trying to save a few £’s doesn’t always lead to a true saving, and the nagging doubt of if the items are genuine probably isn’t worth the trouble.
  22. If you want to find out what the violin is actually capable of, a professional set-up will be your only option. Seek some advice on fittings & strings too.
  23. Slab cut maple of average figure. It looks to be cut on the bias, rather than a true slab cut.
  24. George, I’m afraid it’s not pernambuco. Unless these are valued much higher in America, than they are in England, a restoration would not be financially viable.
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