Regis

Craige, You did a good job of laying down a good foundation for this question. Sometimes, I think a few answers should be like British Parliment to the Prime Minister..... Parliment question (?????)......and then Prime Minister replies with "Answer #3" (actually learned how that works here on Maestronet Forum) Just kidding though. I sure would have been turned off if I had gotten a "see #7" to one of my 1st "newbie" questions. But, I was encouraged though and now have 'invested' into tools and violins to the point that my wife says "I don't even want to know what is in that box delivered to the door". Regis

In the beginning, most labels you encounter like this will not be original (but it is possible). You can begin by looking at the "History" section of Maestronet. Then Tarisio and Cozio Archives. That will get you correct spelling and a little more information. If you peruse this forum you will find lots of evidence that violin identification and valuation is complex and controversial. Read, research and begin to look for more and more details in violins. Then read, research and begin to look for more and more details in violins again. On this wonderful forum, there are some truley great (and not so great) authorities. My repair ability has moved forward much much faster than identification ability. I guess I see more broken violins than quality, authenicated instruments. Your experience may be the opposite. Hopefully, the music shop that you are in has 'some' reference books. Best of luck because you've begun a wonderful journey. Regis

Yes, you can repair. There are a number of articles in these archives on this subject. One method is to basiclly 'flex-in' glue. Glue from the inside moving the sides slightly to draw-in the glude. It is important for the glue to reach through the crack (or very nearly so). Then clamp till dry. I'd first glue a tiny cleat at the end of the crack (or very slightly above) to keep crack from extending. I inlay cleats but see a lot of them just glued to the (inside) surface. It hurts to cause a crack like this but, it's one more thing to learn. Regis

On the last violin that I purchased at a violin shop, I did pay near full price but, got service on it for a couple years included. At that time, it was well worth it because I could/would not work on a violin. As in any buisness transaction there are some people (on either side of the transaction) that think everyone is out to take advantage of them. Dealers will not be anxious to harm his/her reputation because they have more knowledge. But, knowledge wins in the end. The more instruments you look at and price, the more confident you will be when you select THE ONE you want. My 2 cents Regis

Quote: "Besides there is a standing Italian tradition of unlabeled instruments often called "bastardi" (I wonder why ;-) Perhaps I'll make a label for a maker by the name of 'Offalo Bastardi' ;-)" Very good Oded Just wait. You may have started something. Next year someone will login and ask if anyone can identify and tell them about the maker "Off lo Bast rdi, facit __04". The seller told them that their great grandfather played and passed it down.

ispirati, When you use the arching program, how do you decide/determine your arch height? Regis

Indeed, thank you all for much help throughout this year and wishing you and your families a very merry Christmas. Regis

Frank, Sounds like good science not "luck". Do you feel that you actually changed the tone quality or the volume? I'm not close to being an expert but, I transition/flare to the block area as you did. Regis

Jacob, Do you believe the violins were actually in new, unplayed condition when found in 1980? Did you get a close look? Regis

I'm using the same...Firefox (Mozilla) and "thought" the problem was just in IE. But, indeed, I see the same symptom as you are. A little inconvienient but, better than "down" and the search is soooo much better than last version. I can sure live with this and wait for the fix to comes.

Johann Hoffmann was a maker in early 1700's. Based on your 1908 date, just as a guess, it's simply a trade violin made in Germany around that time and modeled after one of Johann Hoffmann. If it sounds good/great, enjoy it. I don't recall anything else except the miss-spelling on the ebay one. Regis

Seems like I saw one on ebay spelled like that (different than the much older German maker (2 n's). I'd suspect the "music shop" was right that it is one of the many many frauds. Regis

Mozilla seems to show new posts fine for me but IE shows new posts (valid and false) until I open and read one. Then it only shows valid new posts until I leave and come back. Then same same again. Regis

Here is a link to a translator of several languages. Language Text Translator It seems 'pretty' good. Regis

Great job....Very noticable difference in performance. You are right that it is much faster and the search really improved also. Thanks, Regis

I've started picking this out. It is more gouge than split. It seems about 1mm deep and 1.5mm wide at the worst spots. Looks like someone mixed darker colored saw dust with a rubbery glue and partially filled it. Then it was just left rough and stained or turned black. I don't know how long this will take but, I'll put "after" pictures up.....may be pretty tough matching up the grain though. Regis

Quote: "i.e.: "WHO did this awful repair???!!!!" "My friend Regis did it--pretty ugly, isn't it?") Now why would my friend Michael say that. Was he bidding against me on this one no, no, no, Michael! But, I did make the smear. It's from the carrier I use for rottenstone. I was trying to see if the surface area would clean up well. There is no sign of crack on the inside except very close to the edge. There are 2 more smaller "gouges" about 2"-3" long also on the treble side of the upper bout. They are about the same depth and black also. I do want to fix this the best way possible even if this one isn't financially worth it....next one might be. Regis

Here is a crack that has been repaired(??) and is solid. But, the result is ugly and is gouged/rotted out. 1st photo shows location and 2nd shows more detail. Don't know its history but, looks like it was broken, treated rough, left alone for years in poor storage, then simply glued. What is the "proper" way to correct this? I could cut the bad area out completely and match up wood to fit. Or, I could shave the top 0.5 mm (or so) of the bad area and inset a matching piece. If there is another, better method, let me know. It sound pretty decent. Thank you Regis

Quote: "It's the light, not the camera." I'd agree if this said "It's the light, AND the camera." You really need a digital camera with a good lense, just like with film. Take a 3, 4, or more megapixel's with a plastic lense and you don't have much (regardless of lighting). Take a Nikon or Cannon at 3+ meg and quality lense and you have something that lighting will work for. Everything works togather. I'm sure looking forward to seeing what that "8 megapixel digital slr (the Canon 20D)" does. I don't know if it will do much for PC screen but, if you want to print large, WOW. Regis

Seth, It was down in IE also and just came back today (as far as I know) Regis

Is the neck "straight" down the middle or angled toward the end pin? If it appears angled, check to see if it's just the fingerboard. If fingerbord or neck need to change as well as the endpin, then you need to plan for the whole job. Not absolutely necessary at the same time but, it would make sense. Regis

Dusting with a contrasting powder helps some. Baby powder on dark bow. Regis

Quote: "make two violins exactly identical is a bit impossible" That is an interesting statement. Has anyone here had the opportunity to inspect/play 2(or more) instruments that were made consecutively(or very close togather) by one of the great old masters? How close were they to each other? I expect that 2 Strad's made a couple years appart would sound noticably different. But, what about 2 perhaps even from the same wood? Regis

Oded, In the "olden days" (1940' & 50's for me) my father always kept varnish warm in a pan of hot water while he was brushing. He told me then it was to make the varnish flow better and remove any brush marks.......and the thinner coats dryed faster. His purpose was for clocks but, the same should hold true for violins....I'll be trying that in the next few days. Can't beleive I forgot that old 'trick' until you mentioned the lamp. Regis

One day a couple years(or so) ago I was happily restoring & re-hairing antique bows when I found Maestronet Forums. I picked up some general good tips and some outstanding help from Craig (ctviolin) to add to what a luthier friend showed me. Then, over time, you folks flamed my interest in violin repair and making. Thanks to Michael, Jacob, and many others, here is my current training routine/exercise. This is working with what many would call junkers. Removing top Re-graduating (most tops & backs on violins that I buy are very very thick) (may try re-arching first on some very thick ones if appropriate) Carving, fitting, adding corner blocks (when not present) Replacing occasional end and neck blocks if necessary (usually ok). Trimming linings(don't find many in this price range that are neatly tapered) Fitting new bass bar and trimming to Johnson & Courtnall's profile (lot of "built-in" bars in the price range). Checking neck fit and angle and re-setting when necessary Removing glue from crummy replairs to cracks & regluing. Trying to make repair disappear (most time consuming and I don't often get it perfect "yet") Fitting in new/matching purfling for missing pieces Fitting new sound posts (still struggling with hearing 'perfect' location) Fitting bridge feet (long way to go in cutting/trimming) T r y i n g to match varnish color Am I missing anything? I haven't tried to sell any but, starting with $50-$100 violins, I'm kinda looking forward to getting up as high as the child labor in 3rd world countries(maybe next year). Or maybe my children will just inherit a shop full of instruments. What an education this has been and continues to be. Maestronet is next best thing to formal education and apprenticeship And I'm deep into making 2 new violins from scratch. I thank all of you that share your talent and skill so generously in support of each other and people like me on Maestronet. Regis