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Everything posted by brokenbow

  1. Inter library loan will get you any of these books without having to buy them and later move them.
  2. Credit cards companies charge the store 3%. Asking for a 3% discount if you pay cash seems like a logical and reasonable request.
  3. That instrument needs nothing more than violin/guitar polish. Alcohol may damage lacquer finishes--and lacquer is a good possibility with sprayed on finishes of mid century instruments. Naptha is a better choice for cleaning of soiled lacquer finishes--this violin is not soiled. Guldan not Gulden
  4. I also acquired some inexpensive IPE China made bows. Of the ten, two have acquired broken tips with the usual clean horizontal break--due to no obvious impact or accident. I have also used IPE decking wood glued up for turning in a lathe. I find that the glue seams do not hold despite cleaning the bare wood with naptha before gluing and the wood prone to catching and cracking on the lathe more so than most woods I have used. Not a fan.
  5. If one does not care about the experience of the audience, please just play in your bedroom.
  6. 2.5 pages of comments and no one has pointed out the obvious question. What color(s) were the walls of Stradavarius' workshop?
  7. Elderly Instruments has a Gibson Cello in stock as of 10/8/2021 priced at $3500. Described as having a laminated back. https://www.elderly.com/products/gibson-g-110-1241-4-4-c-1940
  8. Thanks--this is a useful technique for student violins, lots of other stringed instruments and furniture repair. Thanks for taking the time to prepare such a detailed explanation. My ten minutes of Googling to find Glycol Ether turned up $80 US gallon jugs. Is there another source that you can point us to for Glycol Ether?
  9. could also be celluloid. A hot needle will quickly test for it versus the other mentioned possibilities.
  10. For these inexpensive violins with grainy finishes (and NOT fine violins, or even semi-fine violins) this is an okay method for reducing the visibility of lots of scratches:
  11. https://greenville.craigslist.org/msg/d/left-handed-stradivarius/6760237226.html If any of you are thinking about stealing it, security will be present!!!
  12. Some of us include the front page of the newspaper printed the day we ship showing the date in our photos. Of course you have to have a subscription to the newspaper--something that is getting less and less common. I enjoy my small town paper.
  13. I have seen quite regularly student grade Hungarian violins (made in 1970s?) with two piece backs that had fake flaming on them. The flaming was sprayed on with some sort of masking, but so poorly done that the faux flame from one side that should have stopped at the middle seam, slightly overlapped onto the opposite side of the two-piece back. Dead give away! I have seen fake flaming on old German violins that must have been done with something chemical, as the wood was burned such that there was a groove in the wood and the varnish that was originally on the top of the "flame" had completely deteriorated. Or perhaps.... I had been told by a luthier who had trained in Germany back in the 1950s that some of the faux flaming was done by tieing string/rope around the backs and burning the rope.
  14. I bought a Ludwig Koschat violin maybe 15 years ago and then had a standing search on ebay for this maker. Bought about six more over 12 to 15 year period. They had the features of your instrument, even the pegs. I sold them by consigning them to a major midwestern brick and mortar store, retail price being between $650 and $800.
  15. I took a cello shell (no parts) whatsoever to a shop and asked them to ream out the endpin hole to fit a rather large clunky endpin I had, I was trying to avoid buying a bass reamer. They returned the cello five minutes later and charged me $125. I protested the price, and all they would say is that the book states that the cost for installing a new cello endpin is $125. Of course this is figured based on a set up cello, taking down the strings and bridge, risking the soundpost falling and having to be put it back up, restringing and tuning. I could have bought two reamers for what I paid for the repair. Haven't gone back and bad mouth them every chance I get. Charging by time would have made more sense. As to the original poster, taking down a setup for any reason involves taking off the strings and putting them back on. Charging extra for this is not appropriate. It is slightly easier to install new strings in most cases than dealing with a tangle of strings with the curled up ends.
  16. brokenbow


    I hope you have better luck
  17. How about just getting one of those loose fitting, old 1930-40s, felt lined cases. Add a few bits of rosin crumbs and the cheap chin rest tools that come with chin rests to the bottom of the case. Then sit down to watch a movie and shake the case back and forth until the movie is over.
  18. Press Release Service Seeks Public Input on Effective Implementation of CITES December 3, 2015 Contact(s): Laury Parramore 703-358-2541 Follow the instructions for submitting comments on Docket No. FWS-HQ-IA-2014-0018. U.S. mail or hand-delivery: Public Comments Processing, Attn: FWS-HQ-IA-2014-0018; Division of Policy and Directives Management; U.S. Fish and Wildlife Service; 5275 Leesburg Pike, MS: PDM; Arlington, VA 22203. Comments must be received on or before Feb. 2, 2016. The Service will post all comments on http://www.regulations.gov. This generally means the agency will post any personal information provided through the process. The Service is not able to accept email or faxes. In addition, representatives from non-governmental organizations (NGOs) technically qualified in the protection, conservation or management of wild plants and animals may request approval to attend CoP17 as non-voting observers. For complete guidance on how to apply as an observer to CoP17, please refer to the Federal Register notice. To learn more about the United States preparations for CITES CoP17, visit: http://www.fws.gov/international/cites/cop17/ To learn more about the Service’s involvement in CITES, visit: http://www.fws.gov/international/cites.
  19. I dont get it. Strad fiddles are valuable because they are historically important--Antonio essentially refined the design of violins to its modern form. The amounts they bring reflect the prestige of owning one of a limited supply of original strads--not their intrinsic value as a tool for making music. That a modern maker, standing on the shoulders of 300 years of accumulated knowledge about violin making can make/create a violin that is competitive in sound and playability to a Stradavarius is not particularly surprising. After all these modern violins are either fine copies or refinements of Antonio's design. Whether they sound the same or better in some way to a Stradavarius is irrelevant--they were not made by the person (A. Strad) who refined the enduring design of the modern violin. The next Antonio Stradavarius will be someone who comes up with a design that inspires the creation of an enduring genree of music different from what is currently, and can be, played on Strad and Strad-like instruments.
  20. New instruments--instruments that may be purchased by retailers from wholesalers at a wholesale price are simply a commodity. A retailer may purchase a $1000 violin from a wholesaler for $500. While there are exceptions, wholesale prices are typically half of the MSRP (manufacturers suggested retail price). If the retailer wants to buy a large number of the same new instrument, the wholesale price may be even 5 or even 10% lower. If the world of used guitars and other fretted instruments, used instruments are typically priced at 50% of the MSRP. For lower end Asian made instruments, the pricing may even be 35 to 40% of MSRP. It makes no sense for a dealer, who can by a $1000 MSRP violin for $500 wholesale to take a used (current production) instrument in trade at even $500--since they can buy a new on for that amount. Once a violin make/model is no longer available from wholesalers, its valuation will be due to a complex psychology that we all can only guess.
  21. The magnet trick: Get two super magnets. Put them together and draw a line on their sides showing how they will align (north south) naturally. Place one of the magnets over the top of the crack on the outside. Create a cleat and using a tiny bit of 2-sided tape, attach the cleat to the other magnet with the wood grain of the cleat oriented the way you want it to stick to the underside of the crack. Use a thin metal whatever that will get the second magnet near the first, but inside the violin. Place the magnet with the attached cleat (with glue applied) on the thin metal whatever. Work the magnet with the cleat through the sound hole. It will fly off the metal whatever and position itself exactly under and aligned with the the super magnet placed on top of the crack. Let the glue dry. Then pick up the magnet on the top of the violin crack. Reverse it, and it will repeal the magnet on the inside off the cleat. The other magnet is then extracted from inside the violin.
  22. So few people have ever met someone who makes violins that they have no idea about what to say-- so what comes out of their mouths seems silly to us. See the "curse of knowledge" at http://en.wikipedia.org/wiki/Curse_of_knowledge to better understand your reactions. Part of the work of any member of a profession is occasional public relations work which often means answering the same simplistic questions over and over again. Work on developing thoughtful and helpful responses. And always remember that computer techs and auto repair people have lists of stupid questions and comments we make to them.
  23. The best way to ship an instrument is with the sound post knocked down, bridge removed and the end pin removed. Only works when shipping to a dealer or repair station. One of the common sources of damage when amateurs ship instruments in old or cheap student cases is that the bow comes loose in shipment and then the end of the bow plays drums on the top of the instrument during the rest of the shipment. I use a somewhat different method than shown in the videos. First, if peanuts must be used, a surplus (over-fill) of peanuts must be added to the box--if not, the case can settle in the box since the peanuts can move around. Peanuts are a pain to deal with while unpacking. Instead, I wrap both ends with the large 1" bubble-sized wrap, with one half of the length of bubble wrap hanging off the end. This surplus is then folded over and tapped, providing an effective cushion on the ends when the box plows into other boxes on the conveyor belts. The scroll of the violin should never be touching the bottom of the case--the neck should not be strapped tightly to the neck rest in the case. These two contact points become fulcrums if the box is twisted or bent which can occur when boxes jam up on conveyor belts or when stacks of boxes collapse inside semi-trucks. The other issue is a hard lick to the end of the violin (endpin) which results in a cracked end block. Lastly, if you are so unlucky as to have a very short delivery person in one of those tall delivery trucks, they may well stand on your violin box to get packages off the top shelves. Bridge gets smashed through top of violin--remove the bridge if at all possible. Once I know the height dimension of the boxes I am using, I cut up strips of cardboard to that height and line the interior with an extra layer of cardboard. This is actually easy to do. Just collect boxes (guitar or bicycle) and cut the strips on a table saw to the right dimensions. The videos out there shows us what to do but do not help in understanding what are the sources of damage. Cases are different and boxes and available packing materials differ. Good packing involves recognizing and thinking about scenarios that could cause damage and then how to minimize the chance that they will occur.
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