Ron1

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About Ron1

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    www.reindahlregistry.com
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  1. Ron1

    Self-taught violin makers

    I've observed many apparent amateurs periodically posing questions on this forum, such as how to fill voids in purfling channels, or what size gouge to use for this or that, and I wonder how many questions come to their mind between those posts, that they hesitate to ask. Just imagine the amount of knowledge that would be exchanged between two luthiers sitting and working side by side eight hours a day- just through small-talk, observation, and casual conversation. There is no comparison. The real question is, will this be a part-time hobby, or do you want to make this your vocation? Either option is O.K. Now, back to that bird-house.
  2. Ron1

    World's Oddest Bass Bar?

    Not me- I still have all I can do to make a bird-house...
  3. Ron1

    World's Oddest Bass Bar?

    Don't really know- It's a natural twisted vine-type piece; I fantasized it might be an adjustable soundpost that screws down through an f-hole. :-)
  4. Ron1

    World's Oddest Bass Bar?

    All the pieces- I don't think it was ever really finished.
  5. Ron1

    World's Oddest Bass Bar?

    Can this be classified as a bassbar?
  6. Ron1

    L & T Carcasi scroll 'beauty spot'?

    My favorite American maker occasionally added ebony extensions to the ears of his scrolls, as well as other (usually ebony) trim at various other locations on his instruments.
  7. Ron1

    What has happened here?

    The purfling channel may have been cut too deep...
  8. I strongly disagree. Artistic expression, individuality, and creativity are alive and well in the world of violinmaking- always have been and always will be. There are parameters, but not rules. The "game" that has closed rules is not the making of a violin, but rather, the making of a Stradivari or a Guarneri, etc.
  9. Ron1

    What's the Name of Your Violin?

    Much loved huh?
  10. Ron1

    What's the Name of Your Violin?

    Two different things here- one is sort of a "pet name" for one's violin, etc.- I can't imagine not doing that. The other, in my view, is a more serious name given to an instrument you made, own, etc., based on something- it's history, provenance, appearance, sound, part of a set, and on, and on.. can be smart advertising/promotion. Manfio might chime-in here.
  11. Ron1

    Selling in a saturated market

    This is exactly what it all boils down to. The problem is, for most folks, networking and aggressively building interpersonal relationships are not their "long suit". They are largely destined to be hobbyists... meaning the satisfaction they receive from making must be their reward. I'm aware of one successful luthier who, with one or two of his instruments in hand, spent many evenings in the bar rooms of large city hotels, where famous musicians would unwind following performances- engaging them in conversation, buying them drinks, etc. He devised clever ways to involve notable people in the use and promotion of his instruments. He was the epitomy of self promotion, and enjoyed a long and very successful career.
  12. Ron1

    Case ID - as the case may be

    Whad'ya think Glenn?
  13. Ron1

    Interesting violin on my bench

    Jens is very interested in this subject area, and I'm sure, would be pleased to help.
  14. Ron1

    Interesting violin on my bench

    Another factor typical of the Danish makers I mentioned, is that they (mostly) used an outside mold, and their linings were either continuous, or at least partially over the corner blocks from both sides. The lack of this feature might be explained if the ribs were "thoroughly repaired/restored".
  15. Ron1

    Interesting violin on my bench

    The 4-piece purfling was regularly used by a number of Danish makers and some of those who learned from them: Frederik Wilhelm Hansen, Peder P. Adamsen, Thomas Jacobsen, Niels Jensen Lund, Niels Larsen Winther & Peder C. Poulsen. Poulsen emigrated to Chicago, where he was known as Peter C. Paulsen, and passed the 4-piece purfling practice on to his son and to Knute Reindahl, who employed it occasionally. Jens Stenz in Denmark is expert on these makers and may be helpful in further identification. He may be contacted at jens@stenz-violins.dk