La Folia

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  1. Anders, I'm telling you, the best violin makers make really good pegs. And they stay that way until they eventually wear.
  2. Obviously ezh is right that it's hard to tune the understrings with pegs. I would just like to point out the experience I've had with pegs. Pegs fitted by Carl Becker always worked absolutely perfectly, and mine stayed that way for years. They didn't snap and jerk when they were turned, and they didn't require skill to set them in position. They were an absolute joy to use. I think his may be the only shop I have ever seen in which all the pegs on all violins were in that condition. It's sad that his shop was an exception. In the Hardanger fiddle world I have seen a lot of pegs
  3. Yes, it is impossible, but somehow we do it. It sometimes helps to pull the peg out a little, and we keep trying until we get it by accident. If that fails, we tug on the string a little. Actually, 1/100 turn is 3.6 degrees, which is not so impossible. It would be easier if the pegs were fitted by makers with peg shapers and reamers instead of by beavers, but I've never seen that happen on Hardanger fiddles.
  4. Without an attached picture, how do you connect a certificate to a particular instrument? There's just not very much identifying information on a certificate. Let's see, I have a Strad with a certificate, and a Strad copy. I can try to use the certificate on the copy, especially if the copy is a pretty good one.
  5. Those would be the new ones. Many of the old ones are just pieces of paper. Length 45 barleycorns, spruce top with medium grain, bookmarked maple with medium flame, shaded orange varnish, etc. -- a description which must fit half of all violins. N'est ce pas?
  6. Hmmm, why doesn't that apply to any certificate? Does any certificate really identify the instrument?
  7. Some eastern European food can be like that, but I have to say I enjoyed some of the Polish restaurants in the Chicago area. It might be a good idea to give it another try, if you can find the right place. Or else make it yourself if that's an option. :D
  8. I don't see why not. I've seen makers on this forum mention tacking the top on loosely so they could do adjustments or whatever. I think the idea is to use weak glue. I can easily think that it's good enough for temporary use.
  9. I've seen Carl Becker Senior instruments with neck shims.
  10. Is there any point in lightly tacking the top on to see what the cello sounds like, and THEN making the decision whether to replace the bar?
  11. The D string was rubbing against the back of the peg box. Maybe it still is. That certainly would not help. It also looks to me that the rib is detached by the chin rest. Not worth spending good money on, considering the value of the instrument.
  12. Goo Gone is D-limonene plus petroleum distillates, with a dash of sweet orange extract. Except for the orange extract, it sounds rather similar to the other products that are being recommended. I don't know whether it attacks violin varnish, but it works very well for glue goo.
  13. He did say that a little of the plane wipes off on every piece of wood, but I don't see any sign of that in the picture.
  14. Wood Butcher, I guess you were replying to me. I know what the OP says, but the picture he posted shows something quite different. Whenever that happens, I have to suspect a teensy little observational error, meaning that maybe he got it completely wrong. As odd as this may seem, I think Michael Darnton and others noticed this too.