lversola

Members
  • Content Count

    245
  • Joined

  • Last visited

About lversola

  • Rank
    Senior Member
  1. If you wanted to make a violin sound darker, which way do you move the post (and how far)? Also, what's the proper technique in moving the soundpost? Generally speaking, what effects does moving the post have on a violin's sound, assuming that: towards the scroll = north; tailpiece = south; treble F = east, and bass F = west.
  2. A couple weeks ago, I dropped and shattered my Bernadel rosin (which I've had for more than a couple years and didn't even make a dent in it) and was forced to buy a new cake. I did buy the Tartini Solo and I must say, it's by far the best-sounding rosin I've tried. I've noticed the Tartini is a little tackier than the Bernadel and produces quite a bit more dust. I believe the Tartinis come in a trial size, which most places sell for half the price of the regular size (I think Shar sells it for $10). And if any of you guys use rosin as infrequently as I do (and it sounds like a lot of you do), it should last a really long time.
  3. I've noticed that I do that. However, I don't think that it's something that we're aware of -- it just happens. I think you'll find that most players alter their bow grip to some degree to suit whatever technique is required. For example, one other thing you may notice in heavier passages is that many players' pointer fingers tend to extend rather than stay wrapped around the stick. Personally, I get more wrist action, crisper staccatto, and and generally more speed when the bow is held closer to my fingertips. And as far as my pointer finger goes, I feel that I get better pressure closer to the hand that towards the middle knuckle -- so, yes, my pointer finger sticks out too.
  4. Like Obligatos, Thomastik's Infeld Reds are supposed to give a warmer sound. However, from somebody who's tried both, I think the Obligatos are a much better string. And I agree with Michael -- if you want something warmer than Obligatos, your best bet would probably be a high-end gut string, like Pirastro Olivs.
  5. I think that there is definitely "celebrity" value. In addition to being a violin junkie, I'm also a vintage golf club junkie...and one of my prized golf possessions is set of old 1960's MacGregor clubs that are identical to the ones used by JFK. According to the latest estimates, my set (which, by the way is in MUCH better condition that JFK's was) is worth around $800-900. However, about 10 years ago, Sotheby's sold JFK's clubs for $770,000. Granted, JFK may be an extreme example, but I think it shows that there is something to this "celebrity" value. So, regarding the Zetas -- if it were my Zeta, you'd be hard pressed to find anybody who'd pay more than $20 for the "ex-Lar" Zeta. But, if it was the "ex-JFK" Zeta, or the "ex-Midori", or even the "ex-Spears" Zeta, you'd absolutely fetch more cash than a normal Zeta. I guess the bottom line is that "celebrity" value exists, but it'll vary according to the celebrity.
  6. I've never heard that commissioning music, or anything else for that matter, is tax-deductible...but I'll look into it!
  7. A tax write-off (and mind you, I'm a lawyer, not an accountant) is an amount of money that you can directly subtract from your income before you calculate how much you owe. For most, tax write offs represent cash donated to charity (and no, that doesn't mean your luthier). And to reward those who give money to charity, these tax write offs often put them in a much lower tax bracket. A couple things to remember -- first, tax write offs generally apply to the GIVERS of money, not the receivers. Second (and this one's important), if you were a professional luthier, and you received a commission to make a fiddle, that's INCOME and, at least according to the IRS code, should be declared.
  8. In short, no. But I'm interested -- why would you think that it would be?
  9. lversola

    Lupot

    Actually, according to Henley's, there were SIX Lupots. Even Francois II, who was known for his bows, did try his hand (unsuccessfully) at fiddle-making. Francois Lupot I (son of Laurent) Francois Lupot II (son of Francois) Jean Lupot (first of the Lupots to make violins) Jean Francois Lupot (son of Jean) Laurent Lupot (son of Jean) Nicolas Lupot (son of Francois I) Henley makes no mention of any of them being known for a Stainer model.
  10. Ok, I follow you. I never quite knew exactly what "squarer" corners meant -- that was a great explanation! So, just for now, if we can continue talking about the outine of the first fiddle -- the Amatise. I understand that by looking at the fiddle from the side that you coud get an idea about the arching. And I do know that Stainer-influenced violins (and those from the Tyroean region) are characterized by their high arches. But how can you tell that just by looking at a photograph of the back? I'm guessing that what I initially took as varnish wear along the C bouts was actually shading by which you could discern that the back has a disctinctly high arch. Also, regarding Stainer/Amati outlines -- other than the sqaurer C bouts, what other features are chacteristic of these kinds of violins? To me, and I'm cheating (I'm looking at a Brothers Amati in the Hamma book right now to compare), I think that the middle violin looks more Amatise that the first. The middle one looks more "bottom heavy" -- where the the apex of the the curve occurs closer to the saddle. Also, the upper bouts (especially when I look at the top) look wider at the shoulder, which is also something that seems to strike me when I look at Amatis.
  11. Falstaff -- this post rocks! If we use the details to confirm or reject an attribution, then what's the first thing to look for in forming an opinion? For somebody just beginning, it's easy to pick out differences and details, but I think part of the problem is that I don't know which of these details are indicative of a specific maker, or even generally speaking, of a region, country, or school. And while we're on it (and maybe the more experienced guys can help us out here) exactly what is the step-by-step process you go through when trying to ID a fiddle? And maybe after we're done with this thread, we could start a ID tutorial where we can look at violins from a specific maker or school and point out and discuss the features that distinguish it from everything else.
  12. I wonder how much eBay charges to put a BIN price of $1 million...but hey, the guy's got 100% feedback, so it MUST be real. And, wouldn't you know, I just blew my last million on a genuine Strad (made in Czechoslovakia). I should've saved my money for this gem.
  13. I'll take a guess. First of all, I think they're all from the 19th century, largely based on the last one, which I think is French. 1. Italian. I look at the upper bout and see more of what I call a "helmet" shape, rather than the almost circular upper bout on the last fiddle. Also, the purfling is set further away from the edges, which I think is, generally speaking, typical of many of the Italian violins I've seen. 2. German. I think this is a German attempt at an Italian fiddle. The upper bout looks similar to the first, but the lower bouts don't seem to match the uppers. Also, the purfling looks a tad closer to the edge, and because of the heavy black outline, it appears as if there's more black than white (which I thought I remember somebody mentioning was a feature of German violins). 3. French. Both upper and lower bouts are very circular in shape, and and corners are very pronounced. The middle bout looks very slender, and the small button look very much like many 19th century French fiddles I've looked at. I'm probably way off, but what the heck, you won't learn if you don't try.
  14. Does anybody have any information on bowmaker Hermann Prell, other than what's written about him in Henley's? I found a couple of pictures of one Prell bow on the Tarisio site, but I'd like to see a few more -- does anybody have any head shots of a Prell that they could share? Better yet, does anybody play a Prell, and if so, what's it like?
  15. I thought this thread was about helping Nickia (Nick?) out...maybe there's an inside joke I'm not getting, but this is getting pretty strange what with the his & her mann... Anyway, Nickia, keep up the great work -- you're sounding great. Just remember that a good bow is just as important (and in my own opinion, more important) that a good fiddle. Drop me a note if you still want me to send you a stick -- I'll be happy to do it.