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Jeff White

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Everything posted by Jeff White

  1. I have had the frequent occasion to have had a decent amount of better Markies and Roth tops off. I have seen exactly what you are describing, more times than not. From what I have seen, commonly the squared off linings into the CB's, but about 1/2 the time do I see the squared off linings going into the top/bottom blocks. FWIW........
  2. Right, can't tell always, but if it's done neatly, then I have confidence that the person did the "hidden" correctly. Vice Versa.. Brad, sounds kinda like the Salem Witch Trials..........................
  3. Does anyone know what brand this is that has worn off of this bow. Carbon fiber, better than the normal student stuff, silver and very strong. I can’t read the worn off printing. Looks like a better Chinese copy of a high end graphite bow. Wondering if anybody else recognizes it?
  4. I'm talking about splines, not splices. Just a thin somewhat cross grain spline in the front portion (33%??)of a broken head. As an example, I personally find that the spline pictured on Zhiyi's post way too fat. I don't see any reasonable need for that fat of a spline. I also find that spline to go way too far into the head. When you think about the forces trying to pull that break apart again, most of it is in the front. If you reinforce that, then no need to go so deep. This, coming from one who committed both mistakes in early years........
  5. This auction: https://t2-auctions.com/auctions/lot/?csid=2199552000&cpid=3776249856&filter_key= went for some crazy money. Why? Is Bolanders book now becoming rare? If so, I'll sell mine....... $1200??
  6. Potter, my thoughts might be a little different that some here. I may get "jumped" on this, but that's how I learn.....A spline is not a spline. Many are done deep into the head, and to me, this is a real bad spline. There is only need to spline the front....maybe 1/3(I always eyeball it depending on how high up the head the break is). If this is done, it take very little away from the playability originally of the bow. A spline that goes into, or to near the throat is another story altogether. If the major portion of a bow is collectability, then I devalue it heavily. If not, and it's more of "players value" bow, and a very good spline, I don't devalue it as much. I personally think that the industry devalue's these bows (they well splined ones...) too much, just as I think that there was too much of a deval on belly SP patches years ago, seems to have changed. I can't even imagine a good spline coming apart years later. Naive? I DO believe that probably 50% of the ones I've seen will come apart, but why would a well done spline give way in the future? Can't imagine that the head has a better chance of not breaking along the grain without a spline, than with. Can anyone tell my why a (well) splined head has a better chance of breaking? I'm not even sure a well repaired G2 break wouldn't be stronger than the original grain.....??? Potter, I'd like to see a pic too, private msg?
  7. Agreed, it is. Right now I miss Addies little running man (excercise) emogi thingies. This is how I learn, for sure
  8. Martin, in checking your comments: Hill Stamp length: now that I put my dial Calipers to 5.5, that works Thumb proj: Looks pretty close to your pic in person. I then look at the pic I posted and it's not so great Collar: it has a definite clear 2nd collar, just got a lot dirt and tarnish in there (combined w/bad pic) Pearl eyes on frog: Agree, haven't seen this much Pearl Eye on Adjuster: Agree, never seen this, I didn't even catch this Tip Plate: Yeah, now that you mention it, I remember seeing the little circle stamps rather than pins and the plate does look a bit different. Maybe this is what they did on the lower models?????? Something that looked odd to me, the pearl slide is very long. Just struck me as odd. But then again, I've never seen a half lined Hill frog before either.......... Either way, I have no dog in this race, just in for work and it hit me as right/wrong in places.
  9. Here are some more pics for Mar tin. The "HILL" stamp is 5.3mm end to end.
  10. Ahh, Point taken, pin isn't a dot. Thanks.
  11. I kinda thought that might be the case (o, as opposed to a dot-pin). That kinda is what the pic shows. It's definately a pin on this bow, so.... Guess it's Retford based on that. Any thoughts on the black staining??
  12. I'm confident that this is a Hill workshop bow. What is the difference between the ID marks for Retford and Scarbrow? The look similar in the book, unless the Scarbrow one is a ring, as shown??? Sure it's a half lined frog, and maybe stained because the Pern isn't as pretty, but I'm sure every bow that Retford made wasn't top drawer. At some point, I would imagine that everyone makes lower grade bows in a workshop like that, albeit, maybe early on...... Quality is too good (IMHO) for a copy.
  13. I have this Hill bow and I have a couple of questions. First, who in the shop made it? Stagg's info (from Hill book) makes it look like Retford and Scarbrow both use the same marking on the head? Only other mark is the matching marks "K" for assembly on the frog and stick. Simple "Hill" stamp with half lined frog. Question 2 is, how often did they use this black stain over the pernambuco? I haven't seen this before, thought originally it was not pernambuco, but it is obviously that showing through in the worn areas. Looks like the black stain is stock....
  14. Here are some Leon Pique branded bows........
  15. We get a decent amount of his bows in our area (his hometown). Your Chevy attribution is correct as market value. Playability varies (had his better period) but in general, IMHO, they hit (play) above their weight($).
  16. Yeah, but I think things went south as I seem to remember Chuck raging to me about Knilling. I've install tons of Chuck's peghed and Wittners with no backlash problem at all. I'd send them back and get another set. I just install a customers wooden head version of the Perfection pegs (from Knilling) with no backlash. Maybe this is an issue with the cheaper plastic ones???
  17. I feather, most of the time. I am increasingly trying to do less of this as I have seen so much 1/2 edging separate on older jobs and the removal of original wood. Sometimes though, there is not much choice. I've seen some great work by some (Jerry L and others) with scanning and cnc?? work at doing this without removing original wood.
  18. This is a great thread. As a dealer, I find this very interesting. Rue and Nathan have said some really great things for the OP to read. I know Potter went through this a little while ago and has some great advice too. It seems the teacher is not going to be a "commission kickback" problem as he/she stated they want to stay out of it until the end. That's good to hear. Not that I have any issues with a teachers help throughout the process, it's just that this shows they don't have a motive. There are a lot of "sleepers" in the $3-5K range. Better commercial instruments that just hit above their weight. I would agree with the $5-$10K range, but to not shut out the lower range for sleepers. Based on what Martin just stated (open it, love it), you might consider going heavy on the bow and get her the one she loves, going a little lighter on the $ of the violin. As he stated, (and I agree completely)a lot of it is what inspires her. Not everything, but a lot. Dealing with a shop that gives you 100% trade down the road (of what you bought from them), is a good thing to take the pressure off of the decision too.
  19. FWIW.....This violin is open in case anyone wants to see the inside work. Cleaner than some Hopf violins......You can see the label better now. No indication of a through neck.
  20. Agreed, Josh will do a good job for them. I know Rodney Mohr does Gold work on his bows and is quite good (ohio).
  21. Any bowmaker in your area (or where you are comfortable mailing it) who is used to making bows with with gold (most all better makers) can easily handle this (As FC said). I'm not sure if Jerry P does much gold soldering, but it wouldn't surprise me and he would do a good job. I do this all the time on silver (pull the ring, solder, clean up and....), but not on gold. I would just pull it off and run it next door to the jeweler and have him solder it. You really don't want a jeweler removeing that ring and messing with your button.
  22. We will see. It needs a new board and a full set up. Even with a lousy set up and old strings, it sounded surprisingly.....ok.
  23. The edgework, espescially the contouring upsweep before the purfling, is quite similar on the front and the back. The purfling looks the same to me. I have no doubt the top and back are by the maker. What you might be seeing is some area's of poor restoration of the purfling that, I would agree, doesn't look anything like the stock. The neck looks original to me too, FWIW.
  24. Need some help with this one. Looks like amateur work, revarnished, stuck in corner blocks (crudely done). I'm not sure where to distinguish between the amateur's original work and amateur's restorative work. Inside is varnished, looks overall like a very lame attempt to make the instrument look older than it is. Vincenzo Trusiano label. Overall, I"m "guessing" English, Irish amateur work, or the like. LOB 356mm. Any thoughts?
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