Ron1

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.

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'.

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.

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.

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 .

Well, I tried, but no success in attaching the image file. It's really worth seeing. Any suggestions? Ron.

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.

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.

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

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.

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.

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.???

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?

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?

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.

I saw some Sitka spruce at a local lumberyard, & wonder if it is suitable for violin tops (I realize it would need additional drying time). I brought a piece home that has quite fine growth (9-12 rings per 1/4 inch), & seems also to have a nice ring when struck. Thanks for any insight. Ron.

Thanks, guys. I guess I'm grasping at straws here, but thought I may find be able to learn something about where the instrument has been. The bridge does seem to be quite old to me- it's very dark in color. I assume the "78" refers to 1878. Is there an inspection tool other than light & mirror (like my doctor uses)? Ron

You say you already have the violin, so you have little to lose & much to possibly gain. don't listen, then, to all the doom & gloom you're getting- I'd try to find an "expert" on your particular maker, & see if you can get the instrument authenticated. There. At least some positive, possibly useful advice rather than doom & gloom horror stories. Ron

I have a recently acquired violin which I'm trying to learn about. The bridge is off, & has written in pencil underneath: "WEB 15/10/78" Is it common practice to sign/date like this when repairs or set-up is done? The bridge has printed on one side "MIRE?? IA" in an oval, & on the other side ID?FER?ERDA. Should these tell me anything? Thanks for any help. Ron

No photos right now, but will try in near future. Thanks again for helping out those of us who are not so familiar with violins, making, etc. I'm recently retired & finally have some time to pursue an old interest- trying to learn as much as possible- maybe even try my hand at making. At my age they won't be Strads, but I think would be very satisfying.

Thanks for the clarification- I'm afraid I'm not real well-versed. I didn't even know there were still "Baroque players." I guess I was asking the question as regards collectors, rather than players. How do I tell if the neck is still original (thick)?

Can anyone tell me how uncommon an original baroque neck is on a violin? Would the same instrument be more valuable or less valuable if it still had the original baroque neck? Thanks for any insight on this question. Ron1