Ron1

Is the well-known local luthier still around? If so, you might take the instrument to him for a 2nd, or possibly a 1st opinion.

"Sadly" was not the best word to use- "improperly" is maybe better. I'm just thinking of all those I've seen that are so obviously off-center (from centerlines drawn on the outsides of the peg box). Many that have been re-drilled seem to be far from the original hole placement, and a line connecting their centers would zig-zag all over the place. Is it just me, or do others see this too? Ron.

Can anyone comment on why (it seems to me) so many instruments, even many by accomplished makers, have their peg holes sadly placed? I've noticed this in very many instances, & especially when they've been re-done. Is it incompetence? Or is it that difficult to drill them accurately? Thanks, Ron

I'll be looking forward to the Magazine too. Will you be the interviwER Michael? Or how will it work?

Less than a month ago he purchased, on e-bay, a book on how to distinguish the nationality of old violins- so he should know.

I understand it was more of a 'transition period' than a clear-cut time. Very few 'baroque-style' necks, etc. were made after 1830. If yours has an early 19th Century date, it is possible... There are some experts on this forum who hopefully will reply also. How about some photos?

Quote: Secondly (and much more importantly) they have realised the absolute necessity for blind tastings. On the point regarding "taste testing", we've all heard of any number of so-called 'blind tests' of, usually a Strad, and some other maker's instrument- with the reported results from listeners generally favoring the newer, lessor known instrument, or at least that they were unable to differentiate between the instruments. Are these stories real or are they made-up stories that get passed around? Have any such tests/results been documented or legitimately reported by qualified experts?

A related question- is there a way to also end up with just an outline of, say the f-hole? Like a black line drawing on a blank or white background?

Thanks Tom. Where can I obtain more info on those classes? Ron.

Thanks Michael- I think I'll get the Sacconi book & at least start there! Ron.

Not biographical, rather learning how to narrow down the when and where of an instrument's origins. Not like Henley's, which I think identifies makers, rather than describing their instruments. Rattray's book sounds like it may be o.k., but still maybe doesn't tell HOW to identify Italian work. Isn't there anything that says "corners like this (pic) are Italian; this kind are German..." I know it would take a lot of looking at pictures & instruments, but it sure would help to have someone point out what to look for, rather than each person having to discover it for themselves.

Are there any good comprehensive violin identification books available? Not so much maker-identification, but age, geographic origin, school, etc. Or is it guarded information that folks aren't willing to part with?

I presume those that modernized the best-known instruments were among the best luthiers of their time. Also, they should have, & probably did match the original angles as exactly as possible- or not?

Excellent point Michael- I can see you've mused over these things before...

Jacob- Do you think the apparently critical neckset angle is possibly the reason so many of the very old (Cremonese, Brescian, etc.) makers produced such fine instruments? In those days, the straight-necked (baroque) design would have allowed for a lot easier adjusting to obtain the proper angle. The neck didn't have to be reset, they could just try different fingerboards with varying "ramps" until they obtained the optimum sound. Ron.

Or, just type in: http://mysite.verizon.net/maunesha/

Guess this isn't a tonal improver either- looks something like the rod Alex talked about putting in one of his aluminum violins in a previous thread. I think it was maybe added to prevent further "stretching" caused from modern stringing? (the top is quite flattened). Is that a short bassbar? I figured it measures about 224mm. Another picture attempt: [image]mysite.verizon.net/maunesha/insidebaroque.jpg[/image]

Yes Michael- that's what I was trying to do. Do you concur with Jacob's thoughts?

Thanks, Jacob- So, probably a ficticious maker name- that would account for not being able to find him. How about "Rome" being spelled like that? I thought it should be "Roma" or something? Not nearly that old either. I think I understand the picture/link deal now! Ron.

Sorry- let me do a little investigating. Ron.

This worked for me: http//mysite.verizon.net/maunesha/ (or, can you tell me how to make the "link" in my post? Ron.

The url now works if you type it in- I just don't know how to make the link in the post???

o.k., here's another try at putting the pic up. Ron. [image]http//mysite.verizon.net/maunesha/[/image]

I have another, identical violin to this one pictured, bearing a label: Signor Lacona / Rome 1864. So far, queries on this forum & other research has failed to turn up a maker by this name. Can anyone advise if the instrument appears to be Italian, & of that general time period? In addition to the double purfling, with inner purf much thinner, it has (apparently) ebony "dots" between the purfling lines at each corner. Any observations which may help identify the instrument/maker will be appreciated. Thanks, Ron. [image]http://sitebuilder.verizon.net/trellix/sitebuilder/f_edit_page.html[/image]

I was thinking more in the area of $70,000,000 or so- do you think that would be a long way off?