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About LongNeck

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  1. Am I correct in believing that nobody makes through-neck violins anymore? IDK that violins always break any more than tires always go flat.
  2. 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.
  3. 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 a
  4. Of course I intend to fit the feet precisely to the top. BTW I ordered what I thought was a Teller bridge blank, but when it arrived I was unhappy to find that it was a "fitted" bridge, and too short or barely tall enough for sufficient string height on any of my violins. The fit of its feet on the "Gaurneri" in question was horrible, while the fit wasn't nearly as bad on the "Strads". Of course I'm not using it, but it indicated a difference in arching. Okay, I then I'll compare the bass bar position of this violin to that of the others.
  5. It has two labels, both viewed through the bass f-hole: Label: Copie Josef Guarnerius del Jesu zhotovil mistr FRANTISEK L. DUCHON Nachod 1920. Other label: Joseph Guarnerius fecit Cremonae Anno 1714 IHS
  6. I've made a half-dozen bridges for Strads, but now I'm making a bridge for my first Guarneri, and I'm wondering whether I should do anything different for the Guarneri. Do people usually use the same blanks for both? Should I change any of the specs for say string height, foot thickness, bridge thickness, angle with the belly, etc.? I'm not looking for perfection or extreme optimization---just ordinary, accepted practice. Please advise.
  7. Could top-cracking stresses come from some failure of the through-neck design or implementation?
  8. Going a little off-topic ... maybe this will help you (now or eventually) do without tapes. Be sure you have good strings on the violin. If you have decent strings, you should hear sympathetic vibrations from neighboring strings. For example, playing D on the A string will cause the open D string to vibrate an octave lower than the string you are playing. You listen for the vibrations, and that will help you play in tune without looking at your fingers. Low-end strings from major makers will likely be better than what came on your Mendini. Something like Preludes or Tonicas don't
  9. Yes, I was able to read the date from the convenient header on her post. There are infinitely many other possibilities. You could ask her. She is still a regular visitor.
  10. Well stated, IMO. I think you're touching on the fundamental problem in bow bouncing. Other bounce-related errors may be seen as deficiencies in compensating for this fundamental error---failure, as you say, "to absorb what's left". At any time, as the bow moves, it lies along some line in space. The right hand is moving in space, pulling the frog toward or away from the string. Assuming the bow stays parallel to the bridge, if the frog's motion is not in a line parallel to the line of the bow, the hair will tend to either lift off the string or bounce off the string. Does that
  11. Thank you. Yes, for what's shown. I talked with the guy again, and he confirmed two cracks about a half-inch apart, from the bass f-hole to the bottom ribbing. He said there were no cracks on the treble side. Does that change your answer at all, and if not, what would you probably do about the cracks, if anything? BTW, is it likely the bow hair was ruined by bow bugs?
  12. Age, quality, value, and anythng it would indicate about those same properties of the violin and bows, if they had been with that case a long time. And anything else that might be remarkable or interesting to the uninformed, thanks.
  13. Yes, I can do a setup if needed, but the seller tells me the sound post is standing and the bridge is in the case. There is a Strad 1738 Cremona label. Conversation with the seller indicates the fingerboard is ebony and the top seam is tight. The seller said he didn't see any obvious problems with the pegs. It's in a consignment shop, belonged to the consigner's grandfather. Price is $100. I've been thinking the same as you, that it's a good sign that it seems to have had a lot of use by someone who knew how to play. The music included is a first position method book though.
  14. Thanks for the replies so far. If the stains were from dirt and rosin, wouldn't they have indistinct edges? But the edges are sharp and there are light spots surrounded by dark. Are those features due to incomplete cleaning attempts? If it's dirty rosin, how would you go about cleaning it, or might it be best to skip the cleaning? I would also welcome remarks about the case. I'll try to get the seller to send me some better photos. Mainly I'm looking for a violin to play. If it sounds decent now I would consider buying it and improving it later. I have to driv
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