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Everything posted by Ron1

  1. It looks like the top is spruce & the back & sides are made from another piece & type of wood. Probably should have said "from solid wood" rather than suggest it was carved from a single piece. Ron.
  2. Ron1

    Strings Magazine

    Glenn- What finally worked for me was to purchase an issue at Borders & mail-in the subscription card (or coupon). After a long while, I fired off a sizzling e-mail to them, & received my first issue THAT SAME DAY (luckily, my e-mail came back "undeliverable"- go figure!) I understand there's no such thing as a "subscription renewal" though- apparently I'll have to "re-subscribe". But I do enjoy the mag. Good luck, Ron.
  3. Ron1

    Strings Magazine

    "It seems such a pity that the way the enterprise seems to be run is no match for the high quality of the magazine itself." I agree whole-heartedly. After FINALLY succeeding in obtaining a subscription, I am receiving regular and timely issues and enjoying them immensely. Too bad they can't seem to get their whole act together. For me, STRINGS was never a consideration.
  4. I have an article somewhere, that describes the use of magnetic resonance imaging (MRI) for cross-section images of instrument bodies. An infinite number of cross-sections can be imaged. The article has some pictures of the results, which were pretty cool. The equipment must be a little pricey though..
  5. O.K., maybe I've been in denial. I didn't want to see a "9" in there, but now looking at the photo, I'm not sure. If it is a "9", it would explain a lot: Petterson could have worked on it in 1931, & it may be a 19th century instrument after all. Or is it a stylish "7"? What does everyone think? Ron.
  6. Lupot- here's page 2 of 2:
  7. Lupot- This was copied from the instrument by a Norwegian-speaking person, & it seems to be quite accurate. Page l of 2:
  8. Glenn- I also wondered if the name could be the writer, but it seems unlikely because of the precise date (18/8/1731)- But makers do at times record the actual day/month/year of completion of an instrument. Hopefully Ola will help shed some light on this. Ron.
  9. There are 2 verses to the poem, I have a translation of the first: "Turn over all your ways and heartaches to Him who owns the whole heavenly city (stronghold); He who can still the storm and break the billows blue, He will find the way on which your feet should go." The prayer translates: "Now my eyes are closing, God, Father on high, take me in Thy safekeeping, from sin and sorrow and danger; Thy angel guard me, who has led my feet today." The maker/date is written: "Arbeidet Joh(n)? Petterson or Pedderson, 18/8/1731 There is another possible name written: "Karsben" or maybe it is just a word? Ron.
  10. Tyler- I guess I just added the "master"; Reindahl referred to them as "art violins"- they had engraved scenes and/or figures on the back & sides, and elaborately carved 'scrolls', often with human or animal heads, etc. The one I have has a scene with 3 Am. Indians in a canoe, & an Indian couple below. The 'scroll' is a carved likeness of Reindahl's wife, with a mermaid on the back. It was given to a daughter, & remained in the family until recently. Here's the back:
  11. Jeffrey- I agree, speed is not a big consideration when it comes to violin making- but the topic pops up every once in awhile, so thought I'd share that about Reindahl. Like you stated about Serafin, Reindahl's instruments were very good from the start also, & he enjoyed almost immediate success. His too, were personalized & very identifiable. I think that's a good thing too, but some critics point to individualistic traits in violin making as evidence of incompetency or something. I talked on the phone to David Bromberg- he has a Reindahl in his collection, & I hope to get some further info from him. Ron.
  12. Tyler- I'm still trying to get the webpage up- meeting this Sunday with the guy that's working on it for me. Hopefully in 2 or 3 weeks! I'll post a notice on Maestronet when it's up. I'd like to see a pic or two of your violin. Does it have a date and/or number in it? I have a 1907 that is also really nice- the date is Feb. 7th, 1907. Ron.
  13. Regis, yes, I'm definitely still collecting all the info I can find. Thanks for the info on the Tarisio sales- now, where can I obtain the Red Books? Ron.
  14. Manfio, I think you are correct in that statement. Reindahl apparently did relatively little repair work during his early Chicago years, & devoted the bulk of his time to making. When he "retired" to Wisconsin & began doing more repair work, his output dropped.
  15. I also have one just as you describe, Brad. Reindahl did make bows as well, but I don't know how many. Mine came with one of his master art violins, a recent purchase from one of his great granddaughters- I believe it was the last one still in the family. You don't happen to know where the one you had went do you? Ron.
  16. I'm researching the life & work of the Chicago & Madison, Wis. luthier Knute Reindahl. Certainly not low-output; he made 575-600 instruments, working entirely alone & without powered tools. His average was about 2 wks per instrument for a good number of years during his career. His production can be attributed to his superior woodcarving ability. Ron.
  17. falstaff- yes, they're old instruments in need of set-up, etc. Thanks to all for the responses; it was just kind of a "fun" question w/tongue-in-cheek, but still a little bit serious too. Ron.
  18. Is it my imagination? It seems that everytime a violin goes in for repair and/or "set-up", the luthier invariably suggests it should have, among other things, a new bridge. I've gotten violins in cases that have 3 & 4 extra good looking bridges in the parts compartment, in addition to the one currently set up. Does every luthier automatically feel they can do a better job than the last person, when it comes to cutting & fitting a bridge? Or is selling a new bridge the 'gravy' in repair/set-up work, and therefore almost an "automatic"? Not trying to antagonize the luthiers out there- just wondering.. Ron.
  19. Michael- you saw what happened with ISOC. Soooo, don't be a stranger.
  20. How's that for an exchange? Darnton for ISOC!
  21. You can bet your life he's reading the forum though. Enjoying himself like an elephant in a mud-hole, while all the Darnton ditto-heads prattle on.
  22. chcurtis- The pegbox isn't long enough for more pegs. No indication of bushing or grafting anywhere. Re "breastbone" see below: Richf- I called William Monical and, as you said, he was very amiable and talked for some time. He looked at the posted pics while we talked. He said it definitely isn't Hardanger, but hesitated to use the Alemannic word. He felt it was more likely 19th Century, & perhaps made by a good woodworker, possibly a furniture or coffin maker. He thought possibly that the Hardanger organization in Norway would recognize the name or style, because possibly the maker made both Hardanger and 'conventional' instruments. Did you run across such an organization located in Norway when you were researching? By the way, he observed the 'breastbone' must have been to support the (thin) top plate under string tension, from caving-in. Seems like there would be an easier way.. No reasonable guesses yet on the 'corkscrew' yet, though. Ron
  23. chcurtis- No 'slot' under the fingerboard, but the FB is really a mess- looks like it's 3 longitudinal pieces glued together, maybe was all hollowed (concave) on the underside, but someone glued in about 4 crazy shaped pieces at the small end, for about 4 inches or so, as 'fillers'. The small 'fillers' are what meet the neck. But if it was a Hardanger, wouldn't there be a bunch more pegs than the 4 there are? Ron.
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