Ron1
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Posts posted by Ron1
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Some of Knute Reindahl's early instruments with carved heads, etc. had tailpieces like this one. I would like to know whether it is likely he may have carved these, or were this type of tailpiece pre-carved and readily available to luthiers around 1900?
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5 hours ago, Jeffrey Holmes said:
Sorry... typo. rib.... but now I am tempted to use the word "ride" (preceded by "your") with clients when referring to their instrument. Maybe I'll just "think" it and smile!
My apologies! I jumped to a conclusion. I just have a thing about this I guess. Aren't there some other names I would probably not like too?
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18 hours ago, Mark Norfleet said:
Some of us might be interested in some clarification.
Mark- In an earlier thread I griped about the use of "fiddle" & especially "axe" by well-known players & professionals in the industry. It seemed to me that the more elite would use those terms just because they could. When I saw Jeffrey's (now known) typo, I just couldn't resist.
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On 2/21/2026 at 9:00 AM, Jeffrey Holmes said:
It was over-used, especially in the Mid and late-sh 20th century, when some shops used it as a standard procedure for preparing instruments for the market, or to homogenize the appearance of repairs. The shiny bowling ball look caught on with some players and as a result it also became a requested part of maintenance.
It took a good while to reverse the trend... a campaign by Charles Beare and others, to let the instrument's finishes be unless there was a very compelling reason to mess with them and then approach the problem conservatively. This occurred well into the 1990s.
Naturally, as with most trends, habits, or political stands, attitudes swung to the other side to the point that if you even had a polishing cloth you would hide it under your tool roll! (I'm exaggerating, but you get the point I'm sure).
I feel there are appropriate times to employ French Polish, and there are plenty of times it's wiser not to employ it. Problem is, it seems to be easy for some to pull out the cloth rather than doing a little thinking..
As far as plastic shields: Every player has a different body chemistry and playing habits, and the resistance to wear and degradation of instrument varnishes vary. When appropriate, I personally have no difficulty applying a plastic barrier on an upper portion of a ride to prevent wear from the player's hands. I've also used it on other wear spots (lower rib under the rest, upper shoulder of the top plate, etc). I use a matte clear "book cover" plastic (I mentioned the brand somewhere on MN) which most onlookers often don't even notice... and it's very easy to apply and remove.
Ride? My God,Jeffrey, that's worse than fiddle, or even axe!
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Chamberlain- Thank you. I have tons of pictures of his instruments. Many of them will be featured in the book I'm working on. I just hate the way the 'crawlers' go through the internet and grab all this stuff, hence my reluctance to put some stuff out prematurely. I do enjoy sharing, however, so I will be putting things up on the 'Gallery' periodically.
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I have re-designed and published my Reindahl Registry website which I initially published more than twenty years ago. Back then, I lost my site developer and just folded. This one I did myself, which is remarkable, as I am Norwegian too! Well, half. Feedback, suggestions, etc. welcome. reindahlregistry.com
Ron
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On 12/29/2025 at 2:50 PM, GeorgeH said:
There are not enough "accurate examples" nor processes to measure, quantify, and standardize the data so it can build comparison data models.
But apparently there are plenty enough "accurate examples" to enable human "experts" to learn from to identify instruments by their makers.
And, as an aside, even if violins could be digitized in some standardized way as to create a database useful for identifying makers, that same data could be used to build excellent counterfeits that would be digitally indistinguishable from authentic examples.
It may also be possible for human experts to build excellent counterfeits that would be indistinguishable from authentic examples.
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Agreed, Stern. Knute Reindahl, in addition to being an excellent woodcarver and instrument maker, was a marketing genius. His marketing and self-promotion skills are largely what enabled him to thrive in that business alone, for forty years.
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As long as no one has bothered to answer your original question, I"ll try: No.
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It could be, but I haven't heard that.
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I have tried contacting a (extended) family member for information, but they do not respond. I have the idea there is some sort of rift between the Vettori violin making families, so that is possibly the reason. Certainly someone should have information.
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I have never been able to send private messages to other members. My inbox is apparently over-full (356%) and I am unable to delete any messages. I also am unable to contact Maestronet support from the message page. How can I clean up my message account so I will be able to send messages? Ron1
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Does anyone know whom I might contact to learn what will be the disposition of instruments, etc. from the shop of the Maestro?
Thank you.
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Mr. Burgess?
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Is it only the top, as shown?
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English is not my first language.
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The back also seems like something other than maple..?
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Orben Sime, a young man from a rural farm family in Readstown, Wisconsin, made what was probably the very first "Pitchfork Cello", and spent his entire adult life criss-crossing the country and often sleeping in his pickup truck, performing on his cello and other lesser-known instruments, mainly for church groups and homes for the elderly and poor. He felt he had been "called upon by the Lord" to do this work. He never charged for his performances, although he did accept "free-will offerings" and occasional lodging provided at venues. After 'wearing out' his original cello, Orben commissioned another one in 1929 from Knute Reindahl.
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I presume it's Silver Maple- I have some highly figured pieces like that from one that fell in my yard about 20-25 years ago. Does Silver Maple make for decent tone wood?
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Knute Reindahl (1857-1936), the Norwegian/American luthier employed the 4-piece purfling method in some of his early instruments, having learned it from his Danish teachers, Peder Adamsen & Adamsen's student Peter Paulsen, in Chicago. Adamsen had learned it from his teacher, Frederick Hansen in Denmark. There were also a number of other Danish makers during that period that used the 4-piece method. It was faster and simpler than the 3-piece method: In order to have a wider center 'strip', they shaved both dark & light strips the same thickness, thereby not having to change thickness settings on the plane; then cut the light strip into two pieces and merely doubled them to obtain the thicker light center 'strip'. I don't know that this method originated in Denmark, however it was used there in the very early part of the 19th century. Jens Stenz, maker in Denmark, is the expert on Danish violin making, and has written extensively on the subject, including their use of the 4-piece purfling method.
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The OP's violin looks like that hideous purple finish was slathered on after it was strung up.
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I'm with Claudio- if not photographically destroyed, then photographically shortchanged.
On 1/23/2025 at 1:30 PM, David Burgess said:While I agree that straight-on photos without reflections don't give much information about contours and arching shapes, I will disagree about these instruments having been "photographically destroyed".
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Not so sure that neck graft isn't a clever fake.
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I think the answer, which should solve the problems, is to have a governmental department which would be able to economically produce enough low-cost instruments that everyone could have one. I know that is not possible, but maybe in four years...
Violin by Angevine Wesley Gowen, York, Maine, 1902
in The Pegbox
Posted
Brad- Seems to be a considerable amount of writing inside as well-