• Content Count

  • Joined

  • Last visited


About Violadamore

  • Rank
    Spiv Siren, Attractive Nuisance, Rubbish Dealer & Violinista

Profile Information

  • Gender
  • Location
    In a double-wide castle with gators in the moat
  • Interests
    Luthiery, fine woodworking, music, weaving, photography, astronomy. history, geosciences, intelligent discussion, iaijutsu and kenjutsu, nihonto (authentic Japanese swords)

Recent Profile Visitors

14652 profile views
  1. With some of us here, who have other sources of income, the intangibles are the most important part of the pay. It would be good for everyone to remember that M'netters are a rather diverse community, with differing goals (other than continually learning more about violins, of course).
  2. Some of the membership has good cause, but lunacy is a subject for another thread.
  3. I could make a nice, sarcastic pun on "guilt" out of that.
  4. IMHO, the parasitic resonance you're hearing is an artifact of a lackluster setup. They also never should have released the recording with the fiddle squalling like that.
  5. Photos?# How does it sound?* BTW, you might want to change your username to something less revealing. # If we can't examine it, we can't tell you anything. BTW, please tick every requirement in this thread: * Condition is crucial with these. If it's not yet in condition to play, it's not worth much. Busted Lowendalls are very common. Restored Lowendalls run between $1K-5K retail depending on model and playability.
  6. I was figuring that most beginners cut the notches too deep, and CA with a filler such as baking soda is a quick fix for that.
  7. I'd call that a questionable observation.
  8. You got a nice Markie for $29, prime "usual rubbish", circa 1910. Congratulations! You'll need minimal tools and supplies to: 1} reset, or, cut and set a soundpost when the old one doesn't fit right, (2 "cloverhead" setters, 1 pliers-type setter, Exacto knife or scalpel or sharp chisel [also for bridge and nut], soundpost gauge, soundpost retriever, razor saw, a length of violin soundpost stock, 1 stiff business card), 2} fit/cut a bridge (10 cheap Chinese bridges to practice on, 1 good Aubert bridge, carbon paper, metric vernier caliper, bridge template or French curve, General Tools 16ME or equivalent ruler/protractor, #2 pencil [for nut also]), 3) make a nut for the top of the fingerboard (warding files, fine sandpaper, super glue) 4) glue open seams (hide glue and means to heat and apply it accurately, a glass syringe with 18 to 22 gauge needles to get glue into cracks and joints, some spool clamps ). 5) refit the pegs (a bar of soap, chalk, pumice, or rottenstone, fine sandpaper, a 1/4" dowel as a punch and a nice chunk of oak for a mallet [for removing stuck pegs]) 6) add strings (set of stings such as Warchal Karneol or Infeld Dominants, some sort of fine tuner for the E string) Because, otherwise, you'll easily spend more than $500 on repairs. Directions for doing all that stuff is readily available, here and all over the internet. Good luck, and welcome to MN!
  9. Arrangements of Rachmaninoff's 18th. Variation on Caprice 24. Audiences recognize and like it.
  10. All of it. What's both encouraging (for my playing), and depressing (for the state of the world), is that I've never had difficulty getting gigs, or getting tipped when busking. Apparently us violinists are sufficiently rare these days that we are considered entertaining by our very existence, like a two-headed calf at the carnival. I play a diverse repertoire. including classical, opera, show and movie tunes, hymns/church music, C/W, folk/trad of several flavors, pop classics, and holiday stuff. I also repair and deal in violins. Maybe I've got Deconet in my bloodline somewhere.
  11. No, thank God. Most of my faddling is fairly coherent. Especially my fiddle-faddle.
  12. I've never made up my mind if I'm a fiddler, or just a classical solo diva who's incredibly bad at it. More of a faddler, actually.
  13. What gave me a major education on these issues was when I bought the "Martian". Its radical arching, similar to what Dieter Ennemoser does, makes unusually great demands on the upper and lower block attachments to maintain rigidity of the deeply recurved edges. When it works, it sounds wonderfully resonant, but I had to go through all of the 100+ year old hide glue joints supporting (more "restraining", actually) the belly and reinforce them, as well as seal several propagating linear arch cracks that can't be cleated on the inside. Looks and sounds cool, though. I came to realize that the same stresses affect a traditional violin, just not as obviously.
  14. Consider the violin body as a box girder under stress from the strings, which is trying to bend it into a "U" around the bridge. Firmly gluing the top block to the belly gives the lever arm of the neck resistance from the belly where the notch is. Otherwise, it's going to rotate the top block (and ribs) against the back alone, and bow the belly the top, leading to a neck failure more quickly than one might expect. In some cases it will encourage belly cracks in the upper bouts, as well. Any time you leave part of the "box" free to move, it weakens it. I've had problems due to loosened blocks in the past. This isn't some theoretical thing.
  15. In at least one place I can think of. Las Vegas is a monument to certain mathematical and psychological realities well known to the locals, and shows a profit. Living and working in and around Deecee, however..............