Terry Maurice

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About Terry Maurice

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    Senior Member
  • Birthday 10/21/1943

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    Guelph

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  1. New prices and several books added! I am downsizing my personal collection of violin books and wish to sell them. All of the books are in good to very good condition, except as noted. Price of the book does not include shipping, but shipping will be charged at cost only. I am located in Guelph, ON, Canada. All prices are in US$. Books will be sold on a first come first served basis. Please respond only to me at tmaurice@golden.net if you are interested. I don't want to clutter up the Message Board with replies. List of Violin Books for Sale Contact Terry Maurice tmaurice@golden.net for further details Book The Art of Violin Making Johnson and Courtnall Very good condition $98.00 Violin Making A Practical Guide Juliet Barker Hardcover Good Condition $18.00 The Making of Stringed Instruments George Buchan;an Softcover $18.00 Violin Varnishes Interesting information on resins and basic materials Hardcover $18.00 Violin Restoration – A manual for Violin Makers 2nd printing, Hardcover $240.00 Sold! H. Weisshaar – M. Shipman Excellent condition, like new The Secrets of Stadivari – Hardcover with dust jacket VG condition, like new $150.00 New Price! S. Sacconi Cremona 2000 Deutsche Bogenmacher – Hardcover 2 Volumes in box $290.00 SOLD! German Bow Makers K. Grunke, H.K. Schmidt, W. Zunterer Excellent condition, like new Masterpieces of Italian Violin Making - Hardcover $55.00 SOLD! D. Rattray Balafon Books 2000 Excellent condition like new The Violin Book - Hardcover in box case $25.00 SOLD! Various Contributors, Ed. Dillworth, Rattray, etc 2000, No. 213 of 6000 Book and box VG, some light spotting on dust cover The Violin Makers of the Guarneri Family Softcover $10.00 SOLD! Dover 1989 Good condition The Art of Violin Design – Softcover $10.00 Sold! S. Muratov 2002 Good condition The Violin Makers of Bohemia – Hardcover $155.00 SOLD! Karl Jalovec Anglo Italian Publications Some wear and creasing to dust jacket, some fading on hardboard edges of cover contents all very good The British Violin Makers – Hardcover $30.00 Morris - Pelican 2006 Excellent condition The British Violin Makers – Softcover $15.00 Morris - Pelican 2006 Excellent condition The Amadeus Book of the Violin – Hardcover Very Good condition $15.00 W. Kolneder Amadeus Pres 1993 Practical Acoustics of Instrument of the Violin Family – Softcover $15.00 Ian James Henry Strobel 2nd printing Excellent condition How to Make a Violin Bow – Hardcover $95.00 SOLD! Frank Henderson – Autographed by the Author to Rudolf Keil Wear to the dust jacket, but otherwise in very good condition Violin Bow Making – Hardcover $100.00 SOLD! A. Bolander Jr., 2nd edition, 1981 Good condition The Bow – Its History, Manufacture and Use – Hardcover $15.00 H. Saint George, Strad Library No. 111 1896 Edition E. Shore & Co. Yellowing front pages with small stains to cover Turpentine Violin Varnish – Hardcover $75.00 SOLD! With separate Formulation Manual – Softcover spiral binding W. Fulton, 1988 Musical Instruments European and American $10.00 A. Baines, Viking Press 1966 Good condition The Repair and Restoration of Violins – Hardcover $15.00 H. Petherick, Strad Library Reprint Excellent condition How to Repair Violins – Hardboard cover $10.00 Alfred Common, London Wm. Reeves 1969 Good condition Bows and Bowmakers - Softcover $20.00 Wm. Retford, Strad Libary reprint 1999 Art and Method of the Violin Maker – Softcover $18.00 H. Strobel Violin Making Step by Step – Softcover $18.00 H. Strobel Cello Making Step by Step – Softcover $20.00 SOLD! Known Violin Makers $5.00 J. Fairfield, 6th Editon Stradivaris Genius - Softcover $5.00 T. Faber, Random House 2004 The Violin and Viola - History Structure Techniques, soft cover $5.00 S. Nelson, Dover 2003 Notices of Anthony Stradivari, soft cover $5.00 F. J. Fetis, Music For Strings 2005 The Violin Family, hard cover $8.00 New Grove Boyden et al, WWNorton 1989 The Violin Maker: A Search for Secrets of Craftmanship, Sound and Stradivari 8.00 soft cover J. Marchese, Harper 2008 Joseph Guarnerius: His Work and His Master, hard cover $8.00 SOLD! Horace Petherick, Strad Library reprint 1998 The Violin Explained: Components, Mechanism and Sound, hard cover, dust jacket $35.00 Joseph Beament, Oxford Press 1997 The Early Violin and Viola: A Practical Guide, soft cover $22.00 Robin Stowell, Cambridge U.P. 2001 Violin Owners Manual: The Complete Guide, soft cover $5.00 SOLD! Various Contributors, James McKean, Lustermann 2001 Common Sense Instrument Care, soft cover $9.00 James McKean, String Letter Publication1996 The Violin Maker: Finding A Centuries Old Tradition in a Brooklyn Workshop $5.00 hard cover, dust jacket J. Marchese, HarperCollins Publishers, 2007 Violin and Cello Building and Repairing, hard cover $5.00 R. Alton, Wm. Reeves, London 1946 Treatise on the Structure and Preservation of the Violin, hard cover $10.00 J. Augustus Otto, Wm Reeves London, 4th edition The Violincello: Its History, Selection and Adjustment, hard cover $10.00 A. Broadley, Strad Library, No. xxi 1921, Ex library, cover damaged spine Practical Violin Making 1968, 23 pages, soft cover $8.00 E. Fraser Violin Makers Guide, soft cover, with diagrams and fold-outs $8.00 International Guitar and Import, Tulsa, OK 1974 Colours for Violin Varnish: A Survey of Pigments and Dyes, soft cover, $5.00 with colour sample insert Pip Seymor, Lee Press, London, 2002 The Violin: How to Keep the Violin in Order, soft cover, fold-out diagram $20.00 A. W. White, Boston Music 1892, some yellowing to front pages, tape on top edge Further Basic String Repairs, soft cover $15.00 A. Burgan, Leeds England, revised 1996 How to Rehair Bows - J.P. McKinney Large size 15"X11" University Press 1970 $14.00 Many pictures and diagrams. Some wear and spotting to heavy stock card cover. 15 pages The Countess of Stanlein Restored, hard cover $5.00 N. Delbanco, London 2001 The Violin: History, Aesthetics, Manufacturing and Acoustics, hard cover $10.00 Emile Leipp, University of Toronto Press, 1969, dust jacket wear I also have several of the How They Play Series of books if anyone is interested. Vol. 1, 2 and 6.
  2. I have about 40 books for sale. Violin repair, making, varnish, bow making, etc. Is this the appropriate place to list them? I am downsizing my collection, as condo living beckons. I want to be sure before posting them.
  3. Thanks for the response to my query. I have not been able to find any information on the maker. I have since opened the violin and it is signed on the top. The writing on the underside of the top is in pencil and is signed R D Wilson. A later repair person, affixed his printed label, which reads Repaired by John Smith 617 Furby St. Winnipeg, Late of Glasgow & Falkirk, Scotland, Smith dated his repair on his label in handwriting "Resotred 3-29-1917. Smith also wrote inside that he found the signature of Wilson on the underside of the top when he opened it for repair in 1917. Terry
  4. I have not posted here in many years, but on Jacob van Soelen's suggestion, I am looking for some insights on an older violin that has come into my shop. The violin has a back length of 356 mm, a neck length of 131 mm, a stop length of 192 mm. It appears to be corner blocked, but I have not taken the top off yet, as the back is loose at the button and I want to secure that first. The neck is attached on the outside to the ribs with a metal screw from the inside through the block. The neck angle is more perpendicular than a modern violin. The neck set is low, even when the button and neck root are mated. There is a small wedge under the fingerboard but this is not enough to raise it to the proper elevation. I suspect that if the violin is of an age when the necks were fitted in this way, there might have been a more baroque style of fingerboard that would have produced the proper elevation. There is a handwritten label in old gall black ink inside stating "This violin was made by FD?? Wilson in 1717. There has been several repairs to the center seams, top and back, not very well done with varnish removal. The back is pinned with two ebony pins at the button and the lower block. I have attached several photographs. Any help would be greatly appreciated. Terry Maurice
  5. Brad, while the first part of your post is correct, the second part could lead to some problems. It is true that the setting of epoxy can be slowed down by cooling, however the strength of the bond can be greatly diminished by letting the temperature drop too low during the curing process. Once the temperature drops the bonding of the epoxy is reduced and will never achieve full strength. The process is an exothermic one and the generation and maintaining of the heat is necessary to get the strongest bond. Terry
  6. Hi Linda, I use Helicore 1/8 strings on 1/10 sized instruments and they seem to work for me. They are a steel core string and a bit higher in tension. Small cellos can be a problem, especially if they have a low neck set which makes it impossible to get the proper downward bearing through the bridge to the top. In my experience, small cellos need more rather downward bearing rather than less. Most small children who are beginning with a cello this small don't use the C string very much and that is usually the most problematic one because of the larger diameter needed to get any kind of passable sound out of these little cellos. Another challenge is to find a C string for a 1/10 violin when it is strung as a viola. I have not found anything that works, but again the students do not often use the C string on the viola in the initial phases of learning. Terry
  7. I use standard bridge templates for most of my bridge cutting. I do however get requests from teachers to provide a bit more arching for beginners so that they have less problem with contact with two instead of one string. However, if the arching gets too high then it can lead to excessive arm movement when crossing strings. I find that as the students advance they have better bow control and can handle the standard bridge cut. Terry
  8. There are Chinese or perhaps Indian copies of the Pusch tailpieces and that is probably what you have. Dov Schmidt has lighter weight versions of these tailpieces for sale on his website. My biggest problem with Pusch tailpieces is that changing strings while the tailpiece is on the violin can be a real pain. The strings often have to be fed up from underneath and getting the ball ends seated in the string holders can be a challenge. Also it is important to keep the string on the metal groove on the top of the tailpiece or else the adjusters will not work. I avoid using them and prefer the Bois d'Harmonie type, although they are a lot more expensive. Terry
  9. Hide glue is made from animal skins and glue stocks are listed as one of the concerns with respect to anthrax contamination. I have wondered about this in the past if glue could be a carrier of anthrax or does the processing eliminate this possibility? There is no way of knowing if the hide glue one is using came from an anthrax free country or not. Terry
  10. You should tell these customers to get a "good" bow such as this one presently on eBay, offered for sale by our old friend ISOC. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...ME:B:SS:US:1123 Terry
  11. When moving the bridge is there not an effect of changing the position of the bridge relative to the soundpost and also changing the after length slightly as well? It seems to me that there are several important variables in play at the same time.
  12. Terry Maurice

    UPS DOA

    I have recently had a bad experience with UPS. A cello was shipped to me and it arrived with the top broken into 6 pieces and the neck broken off at the neck root. I called UPS and they came and picked up the broken cello and then issued a report back to the sender telling him that it was not properly packed. This is apparently a standard claim made by UPS. There is even an independent website that has been set up dealing with complaints by people with rejected claims. If you Google UPS and unpaid claims you will find a lot of people who have issues with UPS. One solution to the problem may be to have UPS pack the item, thereby avoiding potential difficulties with improperly packed claims rejection. In smaller centers UPS uses a lot of independent shippers as initial shippers to get the item into the UPS system. In the case of the broken cello, UPS tried to push it back on the independent shipper and the independent shipper said it was a UPS matter not theirs. After a long and very time consuming process the person who shipped the cello to me got paid by UPS, but he had to go through hell to get the claim honored. I eventually got my money back from the seller a few months later. Many others from what I have read have not been so lucky. It is good to hear that some people here have had UPS has honor damage claims. I would suggest that if a damage claim is rejected, just keep at them until they pay and never ship without full insurance. Terry
  13. Yes I call Prim, a low budget version of Spirocore. They are a bit on the bright side at first but do play in well. I have one professional cellist customer that has used them for years. Yes, the rougher string surface can be off-putting for some cellists. I have on occasion used the forte Helicore C & D and they work on some cellos, providing that neck set and string angle are ok. Many of the student grade cellos that I work on have issues with neck set and string angle and the higher tension of the forte strings can create problems. I concur with your assessment of the Kaplan strings. Technical reps at D'Addario told me they brought these out to compete with Larsen A & D as they found that, while their Helicore C & G strings were selling well, the Helicore A and D were not. Terry
  14. I have used the Bois d'Harmonie violin and viola tailpieces and have found them to be very good. Some players and many fiddlers, just don't like using pegs, although Perfection pegs are an exception. The differences in response are not as dramatic as with the Bois d'Harmonie cello tailpieces, but they do add a level of functionality and they are so much better looking than the Wittner or Pusch, both with fine adjusters. Pusch violin tailpieces, although they better looking than the Wittner are a real pain when it comes to installing new strings because of the way the strings have to be threaded up from the bottom into the string holders. Not a strings have the same diameter metal ends and this can be frustrating for players having to make string changes. I, too, use Bois d'Harmonie tailpieces almost exclusively on cellos or at least whenever the customers' budget can afford it. I have a large and growing collection of old ebony tailpieces with the add-on metal tuners. Terry
  15. I use Helicore C & D quite often, paired with Larsen A & D strings, but mostly on 4/4 student level cellos. I don't care for 4/4 Helicore A and D strings as I find them too bright and edgy. However, on fractional sized cellos, 1/2 to 1/10 I find a complete set of Helicore strings works quite well. Often these smaller instrument need a bit more tension to make them sound out and the Helicores seem to do the job. On better quality cellos, I find Helicore C & D strings to be a bit on the unfocused side. I like Evah Pirazzi soloist strings and use a complete set of those on my own cello. I have put these on many cellos as well and generally they are quite good, with a nice response and a good range and quality of overtones. Other strings that work well on cellos are Spirocore C & G with Larsen A and D. I don't care for Dominant cello strings as they are slow to respond and a somewhat unfocused. The newer Larsen wirecore C & G are quite powerful and very expensive strings, but they can overpower some cellos. I recently put these on an older French cello that had problems responding in the bass end and they were quite good on that instrument. These were used with Larsen A & D as well. Terry