martin swan

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Everything posted by martin swan

  1. the photos are terrible - looks much nicer in the certificate pretty sure it's the real deal .... and it has a return policy maybe a fantastic sounding joseph gagliano might sell privately to a player for E120,000, but this guy's prices are ludicrous in my view, even with a return policy eBay is a far less solid buying environment than an auction room, and prices have to be lower than auction room prices
  2. But what about the price? Take the highest auction price you can find and double it .....? You can buy one in Budapest for about a third of the price (details on request). He's also selling an Albert Deblaye for twice the retail price (you can get a nice one in perfect condition at auction for around £1200), and an Angelo de Rub for a similarly extortionate figure. This is a trend that's getting more common on eBay.
  3. Omobono - 2 separate things here. One is the quilting which is a growth abnormality like other forms of flame - the other is a confusion of grain directions. You find this either at a knee at the base of the tree where the trunk is becoming roots, or where a branch leaves the trunk. I have a very nice James Perry that's a bit like that (not so severe) - it has stood the test of time. I'll post a picture later. I used to fell a lot of sycamore trees! ps. the radiating flame could also be from a burr ...
  4. CT - it must be 3 in the morning in New Mexico - shouldn't you be in bed (reading Sacconi)?
  5. Thanks for these various opinions - I have to say that tarisiofever's observations about new violins doesn't correspond in any way to my experience of about 40 new instruments, and Don's analysis of damping doesn't seem to be relevant to finished instruments either, but perhaps if you used similar graduations for each instrument you would be able to chart differences. So many variables involved, it's hard to see the wood for the trees! I'm not contradicting you, just baffled. Manfio's experience corresponds most closely to mine. All I can say about old instruments is that I have 9 or 10 in
  6. Doc - I think you are paying too much attention to Sacconi's graduation information, perhaps because it is laid out on the page in a convincing manner and is easy to put into practice. Michael Darnton, Jacob Saunders and Roger Hargrave (all of whom have picked over the inside a Strad with a fine toothcomb) have claimed that his measurements are way off, and I think you have to believe them, not Sacconi. Michael has pointed out that "averaging out" thicknesses from various different violins is a mug's game, since the key to success in building a violin is to graduate each set of plates differ
  7. Almost always evidence of a repaired neck! Very rarely evidence of a pre 1820s violin (especially on ebay). Occasionally evidence of someone scratching on a graft line with a compass (especially on ebay).
  8. yes, I'm also on the lookout for a good 1/4 size bow! any recommendations would be appreciated, Baiorin
  9. HI Salve, thanks for that, I'd love to get in touch with him. Do you happen to know if he has an email address? I'm not sure if I know how to use a real pen any more .....! Unfortunately the neck of my Gyovland is a replacement (a very good replacement), but the body is in great condition and the sound is excellent.
  10. I take it Katarina is an economic migrant, perhaps from the Czech Republic? A real Glasgow girl would most likely head-butt you, and she wouldn't stop eating her fish& chips to do it ....
  11. I've been meaning to ask this question for a while. I'm sure everyone agrees that flamed maple can be stunningly beautiful, but I can't help noticing that many great sounding violins have plain backs. Dealers who handle a lot of violins seem often to have a soft spot for plain wood, and the makers I work with swear that plain wood is better acoustically ( though they generally refuse to use it because it's boring ....) Conversely, I've heard makers saying that the back and ribs are "just a box", and that you could make it out of almost anything, so why not make it out of something pretty.
  12. Dan S, you are out of order and have really got up my nose. 1. If you don't like things that are pretentious, long winded and illogical, what the hell are you doing on an internet forum? 2. You are calling into question the credentials of a poster who's quite clear about what he does and doesn't do (which as I understand it includes making violins) - what do you do? 3. ctviolin is in my view something of an enlightened being - he seems to have a completely unprejudiced take on things (very rare in the world of violins), and has a way of summing up the essential points in an otherwise ted
  13. I agree - though you lost me on guitar amps. At least if you go and buy wood in Reghin there's only one place it can possibly have come from!
  14. I don't think they do say the wood is from Slovakia, so I'm not doubting them. However, there is a lot of Bosnian maple and Italian spruce which comes from the same place!
  15. I don't think they do say the wood is from Slovakia, so I'm not doubting them. However, there is a lot of Bosnian maple and Italian spruce which comes from the same place!
  16. I think you'll find that most if not all Slovakian tonewood comes from Romania (cut in Maramures, Transylvania, sold in bulk in Reghin and then retailed from Slovakia). It can be very good indeed but it ain't Slovakian ... and since the Chinese started buying it by the crate-load a year or so ago it's becoming increasingly difficult to find anything remotely dry. If you're looking to buy in bulk (over 100 pieces), please feel free to email me. We buy almost all of our wood in Reghin and have good contacts with various woodcutters who sell there. Martin Swan Violins
  17. god I thought you'd know at least one of them .... here are some more hammered, trashed, stotious think Glasgow on a Saturday night
  18. I have to say I think the guy in the first clip is spot on, at least from a player's perspective. I also think the vowels are a good metaphor, if not more, and had stumbled on the same notion myself. His presentation is deceptively uncomplicated, but I think this very basic stuff is overlooked by most. For instance so much debate on this site is about voice, and yet for all the players I know (me included) this is the third most important aspect of an instrument, not the first.
  19. I already gave my opinion, which was "Bohemian"! But I am mortal too, of course ..... Jacob, do you know the Scottish usage of "mortal"? It belongs to a well-used group of descriptive terms - bevvied, bleutered, shit-faced, steaming, mortal etc You know what they say about the Inuit having a hundred words for snow!
  20. was he shot by an irate playwright then? (I'm from the UK, also ignorant)
  21. I see this violin is back up on ebay, now with a starting price of $100,000 and described as a Guarneri del Gesu! To be honest it reminds me most of the Lembock that sold in the March Sothebys sale, but purely because of the varnish colour and the rather excessive blackening around the edges. Maybe if we keep talking about it the price will go up to 1MILLION!!
  22. I suppose there are 20 or 30 dealers worldwide who would be pretty confident of recognizing a del Gesu, and who would magically find 1-2 million in their pocket there and then ... they wouldn't care who it belonged to!
  23. Are you the seller? First of all I wouldn't buy anything from a seller with private feedback - sellers only make their feedback private either to allow them to bid on their own items or to prevent buyers from seeing what they've already sold (for instance the same violin which was previously returned by a disgruntled buyer). Secondly I wouldn't buy a violin from someone who didn't offer a return - why would a seller refuse to accept returns? Because the item isn't really saleable .... This violin has a very Bohemian button - it also looks to have been revarnished, or at least over-varni
  24. in my view a good violin should have a very even response throughout the frequency range, with no particular emphasis in any part of the spectrum, but this can be traded off in favour of agility of response and expressive potential better players want fire and character, lesser players want smoothness and rounded tone I think that amateur players are much more concerned with "bass" than professionals ...violins are soprano instruments, and the G string is of less importance than the E the collective subjective standard of "good violins" is set by dealers and a handful of soloists, and pr