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Jeremy Davis

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About Jeremy Davis

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  • Birthday 06/22/1977

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    http://www.davis-sculpture.com
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  • Gender
    Male
  • Location
    Midland, MI
  • Interests
    Luthiery, Sculpture, Drawing, Music, Comics, Antiquities, Moldmaking & Casting

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  1. **UPDATE** I wrote him about this bow and he says it is a Francois Gaulard. So, not CF (haha). I am still very curious about the strange carbon-fiber-looking area over the frog. Any ideas?
  2. This is my thinking exactly. While I think it is a great idea to have a bow as a performance backup, right now I need a trainer that can get my physically and mentally where I want to be in the practice room. That said, the advice from others to pick a bow that is "similar" to my Tepho for the before-mentioned reasons really rang true. I started to think about what exactly that means. I previously thought it had to do with weight alone. The Tepho comes in at 72g, the Marquise is at 70g, and the Musing C4 is around 63g. Since the Marquise was similar in weight and had the more "wood" like
  3. Thanks for understanding that I'm not looking for a bow to replace my wooden bow, but rather looking for a bow to help me play with it better, and important and critical distinction. I know that bow threads can become tiresome, given the choice is so personal and subjective. Realizing my obsessive nature, I appreciate your patience! (my wife says she'll divorce me if she has to sign for another bow trial box, and god forbid listen to me play the same passages for her to suss out the differences) I take your points about choosing a bow that is close to the Tepho, the main point being
  4. Hello folks, Some of you may be familiar with my longish-threads about viola bow buying. You all gave me some sage advice and really helped me understand what my goals are. Rather than continue one of those threads, I would like to start a new discussion based on where those trials (and your advice) led me. I discovered through much comparison that I really can't find an equal for my Georges Tepho bow. Its sound is unparalleled. While a smidge on the heavy side at 72g and in need of a rehair (which might change the balance a bit) It would seem the problem is me. I would like to be worth
  5. Does anyone know what bow manufacture this is? This is a still from Yizhak Schotten's excellent "Art of the Bow" Video. Seems to go well with his 16th-century Brescian...
  6. Hello folks, It's been a minute since I've replied here (school is always so busy), but since it is summer and I've had time to reflect on my experience I wanted to give an update and pose a few new questions now that things have changed for me.... Fair warning, this is a looong update. So only for those who like long reads... **Update: I've played with the Tepho bow since we've last spoke two years ago, and in that time my wonderful viola from Manfio finally arrived and I finally had the chance to play them both together (and have done so since November of 2017) Before I comm
  7. Thank you all for the excellent advice. Zeissica hit the nail on the head in describing what is "standard equipment" in this body - indecision and doubt about all subjective purchases. If you were to go with me to buy new shoes, you would need to take a vacation day. I have yet to like a pair of shoes once I get them home! True to form, I am also a gearhead. I am always tweaking and upgrading to something better in almost all aspects of my life. It's one of the reasons I got into the luthiery (for myself only) because I wanted to have complete control over all the variables of an
  8. **I've updated this story in my latest post June 2019** Hi Folks, I've recently decided to upgrade my viola bow in an effort to reinvigorate my efforts in the practice room. I've played the viola for over 30 years, but only for fun the last 15 or so. Recently though I've rededicated my efforts and study, and am steadily getting back to my former ability. I'm not a professional player and am only searching for a bow to enrich my studio and practice. One day I hope to play in a small group or semi-professional Orchestra again, but right now it is about technique and form.
  9. I suppose you could be correct, especially if you accept the the blocks and neck are replacements. There is a old-looking crack on the back that seems to point to some age. However, at least on my bench, the top appears to be much much older than the sides or back in my opinion. Even accounting for the differing densities, I can't reconcile their respective ages. It just seems so much newer than the top. Also, for unknown reasons the top has had some work done to change the shape of the f-holes. It was surmised that the same person who put the Ceruti label in there wanted to make the presumabl
  10. As promised, here are the pics of the inside. My thinking is that the bass bar is too short (also has a "saphole" in it) Not sure if that matters or not. I've never heard this violin play, but I don't relish opening it up again once closed.
  11. Here's a Resurrection from 2011 folks... Life has been very busy for me since I last posted about this violin and I've just now got around to getting the top of this violin so as to repair the cracks and see what else it might need. Pictures will be coming soon, but I wanted to post some of my findings while they are fresh: -I believe the the back, ribs, neck and scroll were all built around a much older top. (already speculated in this thread by others) -It has corner flaps instead of corner blocks. -It has a pro
  12. I wanted to do some repair work on the inside as there are a few cracks that need closing and a few cleats that need to be redone. I've never had an instrument this dirty before on the inside though, and am unsure about how to safely clean it. This dirt is beyond mere vacuuming or dusting. Any tips?
  13. Lovely violin! Thanks for posting it. Since Fussen is only 3 miles north of Austria, perhaps we are dialing it in. The arching seems similar to mine, I would love to see a profile if you have one. Speaking of similar instruments, I came across this 1764 Simpertus Niggell violin while searching for Fussen instruments: (with mine on the right for comparison) Not super-similar either, but there is is something in the upper bout shape, and the proportion of the upper-to-lower bouts which is interesting.
  14. The parity of the top and bottom blocks seems to be a rather distinctive feature, no? Am I to understand that you believe the top and bottom block to be original to this instrument? (assuming it would be unlikely that a through-neck replacement block would be made with this grain direction) Has anyone else seen a top and bottom block with lying annual rings like this before?
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