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Everything posted by Ron1

  1. When I question eBay sellers who advertise a "baroque neck" on their obviously modern necked instruments, they speak vaguely about "transition periods" to explain the angled necks. I found & bought this one baroque violin on eBay (I don't think the seller suspected what it was), & have yet to talk to anyone who has ever even SEEN one, outside of a museum. Yet, I seem to be the only one that's excited about it! What gives? Am I mistaken about the uniqueness of this instrument? Or that it is even a genuine original baroque violin? I'd be interested in your observations and opinions. Thanks, Ron. baroque vs modern
  2. I second, or third the advice of getting at least a couple of appraisals (not necessarily formal) from established shops or luthiers. Then, assuming the instrument is not rare, I believe eBay to be a good venue to sell- the bidding competition generally ensures at least fair sale prices- lately, as attested to on this forum, auction sale prices seem to be on the high side.
  3. I'm an ex-Madisonian Michael- in Sun Prairie, about 10 miles north now.
  4. I just couldn't wait 'til 6:00. Sorry.
  5. My personal observations imbibe from experiences attributed to neither of the foregoing; rather, an extreme desire to examine those pre-existing sequences which have been extricated beyond the practical limits for which they were designed. No matter, the flow of wood being first observed by ancient loggers on their way to the mills down-river. Space here, being limited, allows none of the parameters required for ample exposure. Sorry for this "pared-down" version, but sincerely hope it clarifies the fundamental questions put forth.
  6. thanks Mike- I'm a little slow, but I'll get it yet. What do you think of the fiddle?
  7. Still trying to figure this image link stuff out: Cowboy Fiddle
  8. Here's the photo of the "Cowboy Fiddle" I tried, but failed to include with my previous post on this thread. I think it is a contender for the title. It was found in a Texas second-hand shop. Probably made during the long evenings in the bunkhouse. Complete with steer's head "scroll" and haired bow. Kinda neat, but I bid too low! [image]mysite.verizon.net/maunesha/[/image]
  9. Thanks Michael & Jacob- I think I understand your explanation , so hopefully, I'll be using that technology here soon.
  10. Can anyone help? I'm unable to attach files (images, etc.) to my posts here. I get a message that says an mp3 extension, or something like that, is needed?? Is it different than attaching files to e-mails? Thanks, Ron.
  11. Thanks Michael, for the very informative photo progress post. We beginners, and yet-to-begin-ers, form rather vague, fantasy-like ideas of the instrument-making process. This thread brings it into reality for us. It really is like Manfio says, sooner or later it comes down to just you and the wood.
  12. Michael- how about burnishing? Doesn't burnishing cause more density? Could there be any possibility that by burnishing the soft sprucewood top, it would produce a different (hopefully better/louder) sounding instrument? I know you guys hate these comments from us non-makers. Just supposin'.
  13. I don't have the article with me, but I think they were claiming the "ice-age" period was 50-150 (roughly) years prior to the time of the Amati's, Strad, etc. Anyway, plenty early to have produced mature trees. I can't buy the idea that instruments continue to improve in sound FOREVER. Do controlled comparisons of good old vs. good modern instruments show any positive results? There are certainly makers today whose workmanship is comparable to that of the old masters.
  14. This subject invariably comes up in various discussions, with no definitive answers in hundreds of years. What do you members think about the relatively recent findings & claims that a "mini ice-age" occurred in that part of the world just prior to the 'golden period', producing extremely fine tone-woods, which haven't been duplicated since? It sounds as feasible (or more-so) to me as other theories I've heard.
  15. Yes, borescope is the correct name. They carry a no-heat light source for illumination, & image is transmitted via optical fiber (same outfit the Dr. uses). It can be aimed & turned externally, & you can even attach a camera to the eyepiece. Better than a light & mirror because it's right-reading . Worse than a light & mirror because it costs $1200-$1500 .
  16. Well, I tried, but no success in attaching the image file. It's really worth seeing. Any suggestions? Ron.
  17. I was unsuccessful in bidding on this item, which I feel is a contender in this category. It was found in a West Texas second-hand shop. Imagine that cowpoke carving this out evenings in the bunkhouse. It has top, back, & ribs, and a steer's head, complete with horns, in place of a scroll. I bet the bow hair didn't come from any fancy Mongolian nag either! Can't you just hear the strains of "Red River Valley" mixing with the sound of lowing cattle at night on the open range? I wish I had bid higher. Ron.
  18. Ron1

    Failed Idea

    Regis- I think the idea is o.k.- just that the faceted stones may be perceived as too "glitzy". I think bone, ivory, or mother-of-pearl dots would have some appeal though, being more traditional materials. Ron.
  19. than ks for the clarification Jesse. Was it a push-pull deal then, with a string & a stick? Roughly what age would a string indicate? Ron
  20. Things that might indicate genuine age include, a grafted scroll, varnish wear, build up of rosin on the top and ribs-especially on the treble side, and dust and dirt inside. Often older violins that have not been used for a long time might have gut strings and perhaps a string tied around the soundpost. I've been following this thread with interest, as I also enjoy the "hunt", but I don't have the foggiest what the significance of a string tied around a soundpost has? (A recent purchase, however, does have such a string). Could you please explain? Thanks, Ron.
  21. I am in 100% agreement CTVIOLIN. Anyone with an innovative idea for an improvement MUST first become entirely familiar and understand current and accepted methods. However,I do feel he/she is entitled to have those innovative ideas during the learning process. I was merely trying to encourage Alex, and point out that Stradivari, too, was an innovator and an experimenter.
  22. Where might we be today if Stradivari had had aluminum availbable to him? Or if he had merely accepted Amati's designs as being the ultimate? There's always room for innovation & improvement, Alex. Maybe your idea could result in a "try-post"- inserted & moved around at will while test playing the instrument, & THEN, after determining the optimum placement & length, replace it with a hand-set a spruce soundpost.???
  23. Alex- I have a very old violin (made of mere wood) that has an almost identical feature- a 3/8" wood dowel attached to, & running between the end blocks. I'm unsure if this is original or a later addition. Maybe someone can tell me if this method of stiffening is common, or at least known. I haven't heard the instrument played, but I understand it produces a very nice sound. The top has little or no arching in the bridge/f-hole area (it may even be con-cave), which may be the reason for, or the result of this feature/modification?? Anybody?
  24. Thanks for all the good advice- I'll most likely obtain my tonewoods from a dealer. Maybe I'll use the lumberyard stuff for practice carving, tooling, & varnishing. My only concern is not being able to see & select the piece I'm buying. How does everyone else feel about that? Or do you wait 'til you can go to the dealer? Do they let you return unsatisfactory pieces?
  25. Regarding the "shimmed" fingerboard, another possibility (although remote), is that it is an old baroque-necked instrument, with the additional wedge-shaped piece between the neck & fingerboard, that was then employed. My baroque violin is of this construction.
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