Barry J. Griffiths

To me it looks like contemporary Romanian work, like a Gliga. Deep channels at the edges and the scroll. Any label?

The "soundpost crack" is on the bass side of the back, so I'd have to go with fake.

You can try one of these: they’re called Piccolo tuners

So, if a lesser known maker produces the BEST sounding instrument in the competition but has only received $4000 for his efforts up until now, $4000 is the maximum selling price? How convenient for the buyer. How about something like: Best sounding: $25,000 Second best: $20,000 And so on

A client came in with a violin labeled Frank Barstow Pittsburgh PA 1898. The Wenberg book lists him as being from Marietta OH. He studied violin making with George Gemunder. He worked for H. R. Knopf in NYC as a repairman, having his own shop in Pittsburgh c. 1905-1910, then moving to Elkhart IN and worked as the head of the violin shop at C. G. Conn. He then went to the Wurlitzer shop around 1935. The violin: lob 357, ub 166, mb 111, lb 208, ribs 30-31. No major damage past or present. Some edge scuffing, one inch open center back seam, fingerboard needs to be reglued. Complete setup. What would the appropriate value be both as-is and repaired? I realize that this is a lot to digest but I’d appreciate any help. Barry

I’ll play along.

I've always made the balance point on violin bows at 7 1/4" from the actual balance point on the stick (fully haired, frog all the way forward) to the exit point of the hair on the ferrule. My question is if the balance point on a viola bow is the same as a violin or slightly different.

Aside from your other problems with this cello, it looks as if the bass bar is parallel to the center seam. Can you measure from the center seam to the bar at the widest point of the upper bout, and again at the widest part of the lower bout?

Is this about a cello you're making or a cello which already exists with a thin top?

I used to use all maple but switched to basswood for the spreader wedge a few years ago. The basswood cuts easily and compresses nicely on the wedges.

I have a violin coming into the shop in about a week and I would appreciate any information about the maker and the value of his violins. The violin was made by Josef D. Deulin. He's listed in the Wenberg book as having lived from 1988-1967, living at various times in Madison VA, France (working with Albert Aylor circa 1900), Washington D.C., Toledo OH (working with Alton Saunders), and worked in his own shop in Detroit MI from 1914-1960 when he retired. He made 328 violins, 32 violas, and 16 cellos. Any and all information would be greatly appreciated. Barry

Thanks Nate. The current bridge was probably a 92 which spread to 94. It hangs over the bass bar by 5 or 6 mm. It's hard to imagine what the bass bar installer had in mind.

A client brought in a decent Chinese 4/4 cello needing a new bridge. The current French model bridge measures 94 mm with the cello strung up to playing tension. I want to see if this is the best bridge width for this cello. I measure from the F hole notch to the bass bar and get 41 mm.. When I measure 41 in from the treble F hole and then measure the distance between the marks it indicates a 88 mm bridge (spread and under tension). Am I better off with a bridge that small which sits in good proximity to the bass bar or a wider bridge which overhangs the bass bar by an extra 2-3 mm but puts the feet closer to the Fs (and the current soundpost) to allow the plate to vibrate more freely? The teacher has requested a Belgian model bridge, if that factors in to the equation. Thanks for any input.

The photo of the full back looks like maple. The closeup looks like a flamed mahogany.

I believe there is a waterproof version of Titebond.