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  1. Hi dude, oh yes please if you have some violin photos from this maker or u could share with others in this forum
  2. "violin picture" I should have used a better word "violin Photo" by the maker Giovanni Dollenz, anybody give me a hand out there? Sorry folks, haven't had enough sleep lately...
  3. Oh, I couldn't recall much but they all have virtually same sound texture from the cremonese period. Secondly, I am looking for violin picture by Giovanni Dollenz, anybody give me a hand out there?
  4. Hi, Bon 2005!! I have played a few of Storioni's violins but don't know much about his pupils and/or successors, please assist, many thanks.
  5. Michael, what are the causes of those darker grain lines, when I first looked into that, I thought it was a reinforced crack. What causes those lines, the maker should have prior knowledge to that one. Should that make any difference to the sound or price?
  6. Michael, if a visual line (a darker grain line) appears on the top plate or back, would that be more prone to a crack later on in its violin life? I have requested the same question to a auction house, they said it wasn't a crack would you give us some clue on that one, thanks.
  7. G'day Mister, what if you tried to hammer it or pushing it a bit... would that sound a bit of a Amatis??? Pity that I couldn't go to Tarisio this time......
  8. Michael, please take a look at this "good old Fagnola violin shown at Skinners and/or Ebay", it looks as if there is a visual crack in the top plate "R.H.S". Should that contribute to a lower selling price?
  9. Any takers out there trying these two Fagnolas with Roccas style as I couldn't come back on time for having a go at them
  10. If you haven't seen Fagnolas, you have two choices from Tarisio, that would give you some sort of an idea, pal.
  11. Michael, is it true that the grains alignments are important for the violin to sound better? Most of the ancient violins had grains from spacious (side) to dense (middle)of the top plate. How much difference with the tone where comparing with even grain throughout?
  12. Hi John Master, as you were talking about the tap tone, would that be the actual response from tapping the wood and see how much it rings back on you or else? Secondly, a question for you and Michael, as I recall from seeing the Strad or Guarneri, I notice that their flames from the back are sometimes slating from one to the other, should that contribute to any sound difference even if they all having made from the same piece of wood?
  13. Who side are YOU on? Forget that or sorry I'll say. Should anyone care about even if I really buy one from this redish maker Fagnola, I wish I had the dough Try to speak like others pal if you really like to give valuable comment.......... Besides you really give me pointers at all things, have YOU shown me the way to the other side of the tunnel, others do. I just about to learn something here and you thrash my thought away, how sad.
  14. Look guys, this is a forum. I have questions, typed and seek for references. No doubt I have interests towards Fagnolas from the start, then it raises issues like choosing the "Right" fiddle during the purchase via auctions etc, that doesn't mean that I am sticking with Fagnolas.........
  15. When you guys buying an instruments from any auction house, before you make the decision, I suppose you know from the surface whether the violin has had any repairs done, but that's only the surface; I mean, could you spot any repair work done within, I am sure you don't bring also tiny gadget into the auction room and take a good look inside, do you?
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