christian bayon

It is not so stupid, my experience is, the less you join the spruce fiber together, with a sound-post, with a cleat or with the bass-bar the freest is the sound.

Testore viola.

I have been varnishing with Fulton varnish for years and even if the varnish is ok, I was never able to have a vibrant look. Always a bit greenish and cold looking.

Almost ready my attempt of interpretation of the "Segelman" Carlo Bergonzi 1736. I hope the player of the original enjoy it!

Not that sure about the wolf note at this place!

Old yellow instruments are nice because the wear and patina, very difficult to make a new one attractive.

Actually they are more easy to recognize by the style examination (arching for example) than by technicals details. The cheapest one are easy but some high quality violins called “repris à la main” (hand retouched) are way more difficult to identify. Not always 1 piece top or back, they was able to bent them with the joint glued, I have seen some with newspapers glued along the central joint, on both side. I don’t know what was the technique. I have bought when I was young a lot of back and top from Laberte, 5mm thick. Very useful for restoring.

Very convincing Melvin!

Thanks Andreas!

Usualy, all the problems of neck projection come from a déformation of the top, sometime subtle and difficult to see.

Thanks, It’s two different makers, the violin is Carlo copy and the viola is Nicola copy.

Work in progress, the "Segelman"

Will be my pleasure Tets! i like very much your work.

Same for me and my Mamiya!

Back in business!