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LongNeck

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  1. No problem, Brad. My feelings weren't hurt. Everybody here (I hope) is able to speak their mind even if feelings are hurt. Nobody is right all the time or makes sense all the time, although they come closer to that when they are trying to.
  2. Okay, thanks everybody. I shouldn't expect unlimited handholding. I'm off to youtube to learn some more about fixing cracks in violins.
  3. What would be the common bodges for a crack like that, and what would be the ways of doing it right? The thing is not real pretty, so I don't care much about the cosmetics. Because of their sizes and locations, I doubt the cracks would reduce the power much. It's not going to be a powerful instrument anyway. I guess I would mainly care about audible noises coming from the cracks and about the cracks getting worse. You guys are the experts, so I assume you can see things that I'm not.
  4. I meant that the there is no apparent shearing/misalignment in the cracks. Also no easily-apparent gap or separation. Actually the cracks are narrower than a hair. I thought maybe all that would make a difference in repairing them or leaving them alone.
  5. Thanks, and thanks chiaro. I've made about five bridges, fit a couple of tail pins, made and/or set about five sound posts, even relocated a misdrilled tail-pin hole, with I think acceptable results. So I already have some of the tools, materials, and knowhow. I wouldn't probably attempt any of that on a $5000 instrument. I'm thinking around $50 money cost for the setup. If I'm not happy with it, I can reuse the strings on something else. Also, I expect the shorter-bridge, lower-power sound of the arched top might be more protective of a guy's hearing.
  6. This was a craigslist find. After six days, it seems he hadn't had any nibbles, so he dropped the price to $25. I asked him some questions over the phone, then made the 45 mile round trip to look at it, and I bought it. You are right, Brad. The back seam is slightly misaligned, and the blackish finish has been rubbed away on the high edge of the joint. Further, I find the following: It is stamped/embossed "STAINER" near the button and "GERMANY" near the tail pin. The paper liner of the case has some faint pencil writing: "1890" and "4-28-96" and a half dozen names, seemingly the friends of an early owner. The nut is missing. Instrument has a neck block, not a through neck (relieved at that!). Four corner blocks and linings are present. Looks clean inside and out (despite a couple cracks in the case) except for what looks like it might be some black mold inside. The pegs are as smooth as can be---nicer than any of my other violins---really happy about that. The seam in the lower bout of the top has been repaired by inserting a tapered shim that starts an inch south of the bridge and goes to the saddle, where it is 3 mm wide. The top is joined very neatly to the ribbing after the top-seam repair. There is no label inside. The repairing luthier's name is stamped on the inside, with an address near mine. Also that name appears on the bass bar, which is not integral to the top, so maybe he replaced that at the same time as the seam repair. There is a hairline crack about a couple inches long reaching the treble f hole---you can see an indication of that in the photo, but you need a fingernail to feel it. There is another hairline crack under the chin rest area. A 5mm-wide x a few inches-long section of edge and purfling has been replaced under the chin rest. The underside of the (seemingly plastic) chin rest has been gouged/hollowed to accomodate the high arch of the Stainer form. Distance from the top of the end of the fingerboard to the belly is about 17 mm---pretty low, I thought, but maybe not for a Stainer, given the arched top? The bridge feet are a good fit for the belly. Evidence of more recent poor setup: the sound post seems to be too long and is not vertical and is at least a half inch south of the more usual location, and the tail pin looks like some kind of roughly-wittled short black plastic tube. The bow is slightly warped, I wouldn't say very badly. Kind of excited to fit the nut, sound post, and tail pin, string it and get it running again. I would like some advice about the two hairline cracks---I don't know whether I should try to do anything about them. Thanks.
  7. If the back seam has been repaired, as hinted by the light-colored streak, was it by inserting a sliver of material into the open seam? I'm thinking that if it had been pressed closed with no material added, there wouldn't be such a noticeable streak.
  8. Thanks everybody for the answers, especially Brad and WB for making things very clear. And extra thanks to WB for stating that the fake wear pattern was "comical" ... although I wasn't sure, it was pretty much what I was thinking!
  9. Thanks for all the replies, which lead me to some new questions. 1) Would you expect that the fake wear pattern was applied when the violin was new? 2) Is the fake wear pattern supposed to imitate stains that would come from rosin? 3) I'm still not seeing why the pattern (real or fake) would have as much symmetry as it does. For example I would expect the top near the neck to be worn on the treble side but not on the bass side, due to the left hand making contact while shifting. By the way, does it look like the back seam is open?
  10. Seller states not much more than that it is a "very old steiner german violin". Price is $100 for what is shown.
  11. Hey everybody, I'm thinking of buying this old violin. The symmetry of the rosin stains looks unusual to me, not to say that I know what rosin stains are supposed to look like. Can you offer any understanding of this? Thanks.
  12. Am I correct in believing that nobody makes through-neck violins anymore? IDK that violins always break any more than tires always go flat.
  13. I didn't like that the feet would be left a lot thicker than usual. IDK how important that is. And the bridge is left damn thick too, as thick as a blank. It seems that all it saves is cutting the top edge. It doesn't look like much of a gain, and it seems to reduce options. Not sure what fitting of the top curve you have in mind. Maybe you're pulling my leg.
  14. I did return it, and after some little negotiation, the seller promised to refund the price and shipping. It cost me a dollar for return postage. No, not talking about the bridges with the jointed revolving feet. Apparently the idea is that you just stick it under the strings, and you're good to go. Like I said, the bridge was so short that I couldn't have taken much wood off the feet, or the strings might be too low. The product concept is more or less appalling, but they seem to sell a lot of them (many hundreds) on the big auction site. The listing didn't have any description at all---just a title and a photo. The title didn't include the words 'fitted' or 'pre-cut' or similar. The seller acted like I was supposed to know from the picture that it was fitted, also stated in poor English that a shop would charge $50 to fit a bridge, and so I shouldn't have expected much for $10. Ha, ha, what I expected was a bridge blank, and I would cut it myself. I measured the height/width proportion of the pictured bridge, and it did not match the proportion of the bridge I received. I looked through the Teller catalog, and they do not list any fitted bridges. It was a 3-star with an ebony V-inlay. I emailed Teller asking whether it was their off-the-shelf product or whether someone modifies these after Teller sells them. I haven't heard back from them yet.
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