Brad H

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    So. Oregon

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  1. Brad H

    Lucky Buy?

    Re: Julius Heberlein, I had a Pollmanini (back of scroll stamp) with a pencil inscription on the underside of the top, , “ Julius Heberlein, Geigenmacher, Markneukirchen, Saschen, 1891" Based on the ones I have seen and had, H.E. Heberleins, can be quite nice with expected retail in the $2k-$4k range. I have seen some poorer quality ones on Ebay.
  2. I have several violins that could be twins with the OP's violin. On mine, the scroll shield is inscribed with "Artist Violin", and there is an 8-point star stamped on the back button. Inside the star, two letters are stamped...not sure, but they might be KG? The fingerboards on these all have a central spine on the underside. I found the following description on this site, which may or not be the company which "produced" these: Glaesel and Mossner - 1873 - Markneukirchen - many models: Artist, Conservatory, Grand Concert, Grand Solo, Imperial, Paganini. Shield with model name on back of scroll. Some with carved heads or or portraits on back. Trade bows stamped "Tourte" or others. Some labels have G & M logo which is an eight pointed star with G&M in the center.
  3. Brad H

    Dominant e

    I only use the Dominant steel E on an occasional inexpensive violin. The Dominant wound E and tin-plated E work on some step-up instruments, but I use a non-Dominant E on roughly 90% of my violins. My only complaint with Goldbrokat is that the winding on the peg end is so short that the final wraps around the peg are bare metal which can dig into less dense pegs.
  4. I have a faux flame Czech violin with flames painted on inside where it is easily visible.
  5. "'Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What's Montague? It is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What's in a name? That which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo call'd,"
  6. Arguments to be made on both sides. Bottom line, just as you would not judge a fiddle solely on its label, so too one must judge a post by its content.
  7. Sadly, It is normal because many musicians do not pay enough attention to their instruments, including their bridges. Every time you tension the strings with the pegs, the friction of the string pulls the top of the bridge forward causing the warp you have pictured. The tendency to warp forward is exacerbated when the bridge is too thin below the heart. Google "straightening violin bridge" to find a video showing how to correct this forward leaning bridge tendency. Or, you could take it back to the luthier who cut the bridge and have him/her address the warp. The waviness of the bridge top in your 3rd pic is usually a result of the bridge maker not taking any wood off the back side of the bridge. Bridges can warp backwards if wood is not taken off the back, and there is an acoustical benefit as well. Since the treble side of the bridge is shorter, a bit more wood is taken off from the back on that side to "straighten out" the bridge top.
  8. We all have unique pasts and present situations which guide/influence us in regrad decisions; I wouldn't expect that we would all agree. The anti-regrad argument of, "If the violin does not suit you, put it down and find one that does", is intended for violinists,. and is less applicable to luthiers/dealers who already own the instrument. I will admit that economics plays a role in my regrad decisions. If I buy a violin for X$ and believe it to be a 2.5-3X$ violin...but, it sounds like a 1/2X$ violin, I have a decision to make. Considerations include: - the value/origin of, and level of effort initially put into the instrument, - whether a regrad would have a significant chance of improving the tone, - the basic economics of time as money, I have a knock-off Hacklinger gauge to help make the decision. When possible, I try to get input from other luthiers and/or players. When I do a regrad, I look at top, back, and ribs....lots of fun on cellos! Here is a question: once you have regraduated an instrument, do you market it any differently? At what point do you tell a potential buyer that the instrument has been regraduated?
  9. It really sounds like you should visit a violin shop and try instruments in person. Even if you have to travel a ways, it could save you lots of time and the hassle of finding, trying, and returning instruments by mail. Plus, if you find something you like at the shop, you will be supporting a "local" business, you can see meet the folks selling the viola, and be assured they will continue to help maintain the instrument.
  10. Joe, can you embellish a bit on your wizardry with the pitch fork...did you prod your kids with it?..... save your family from a charging griz?....just wondering about the practicality of your expertise...maybe you and Three13 could team up and storm the local castle... Brad, I do a bit of tree felling around here; what led you to want to measure a chainsaw kerf in anything other than wood?
  11. Like Michael and Brad, I enjoy woodcutting and splitting. It is a family thing; my dad is 89 years old, a wood-aholic, and is still gathering wood. He now has a splitter but I enjoy splitting by hand - good for body and mind. I have a monster maul that does not need to be sharp since it basically uses heft and a wide wedge to shock the wood. This is about 1/2 of my current stacks. I will add that, after a period spent shaving tiny fibers of wood off of sound posts or bridge feet, during which I tend to tense up my shoulders, it feels good to do something on a larger, more physical level.
  12. Well, it's good to see that Shar is trying to stop the practice,; they could have kept quiet and continued to make a profit from the fraudulent sales. Now, if Ebay would even pretend that they cared about fraud...
  13. Thanks, I try to do all of the above, and I can't find a problem with the slot on the most recent broken string.
  14. OK, I know that Dominant A strings are mischievous and prone to fraying, but why do relatively new D strings just give up the ghost and break for no apparent reason in the pegbox winding? The breaks occur in the tensioned portion of the string between the nut and the peg under the winding...maybe one cm from the peg. They aren't jammed against the pegbox wall and not near any overlapped areas. Has anyone else experienced this?
  15. I think people develop the needed skills for their preferred tool. I use a chisel for both bridge feet and cutting sound posts. If the edge has a very slight camber (and is sharp), it facilitates removing select areas from bridge feet.