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  1. palousian

    Copy of Sebastien Kloz

    Well, since no one has replied, I'll jump in. I am not an expert, but I try to learn what I can from the experts who participate here. This looks like a cottage industry violin from Vogtland region from c.1900. It has to be after the early 1870s, because there was no "Germany" until then. I can't tell whether the bass bar crack on the top has been repaired, but that's an important issue. If the crack is OK, it may be a decent-sounding violin, since the wood looks pretty good. It has virtually nothing to do with an actual Sebastian Kloz, which would have been made 150 years earlier. I can't tell much about the bow, someone else will have to do that, but probably an OK student bow. As for the person with the "Amati." It is almost certain that this is not a 17th-c. Amati, but the person should definitely take it to a good violin dealer there in Atlanta (I wonder if the member "AtlVcl" who participates here would know...send them a private message, perhaps?) and find out. There are a surprising number of nice 18th-c. violins that have a bogus Amati label, but are still great violins in their own right, and maybe it's one of those. If you had photos of that violin and posted them here, I guarantee you'd get attention--maybe that's the quickest way to get a result.
  2. palousian

    Mittenwald, what about this label please?

    You don't show any images of the bass bar in your fiddle. Either you have a carved integral bass bar, or someone cut it out and replaced it with the glued in variety.
  3. palousian

    Ficker violins, two sound posts

    The Luthiers' Library is managed by David Kerr Violins of Portland, OR. I think several of the instruments in the NMM are included in the on-line collection, though. It's a pretty interesting resource.
  4. palousian

    Violin label id

    It looks like it was in a snow storm. Here is a useful article, giving you an idea of the sorts of images needed to attribute your violin...
  5. palousian

    Your worst buy on Ebay

    Don't give Landolfi any ideas!!
  6. palousian

    Apparently violins can't play middle C

    It seems to me that this passage in the book was a dumb mistake. I suspect that they were thinking of the C below middle C, which indeed, a violin can't play unless you want to put a fat string on there.
  7. palousian

    Your best find on Ebay.

    (1) I'm not an expert, and (2) eBay does not require idiots to foolishly bid up items to stay in business. As a matter of fact, the behavior you have exhibited with your "Strad" and your other offerings here (the desire to get something for nothing) is the kind of thing that keeps charlatans on eBay in business. You need to run the other way from buying violins on eBay, and go to a dealer. What is your agenda, Landolfi? Are you just trolling everyone, or do you actually want a good violin? You have received good advice, why not take it? I don't know, just an idea.
  8. palousian

    Your best find on Ebay.

    We have to remember that it is Landolfi who started this thread. Not intending to go all ad-hominem here, but based on previous threads, I think it is important to underscore that the only people who should be buying violins on eBay are experts. Landolfi-- though you are apparently ignoring your other thread--you should definitely not buy violins on eBay. Go. to. a. dealer. That said, I have done very well on eBay, myself, both in taking great advice from experts on a few things (thank you!), and applying the expertise I have in other areas. Many screaming deals on pro audio equipment (microphones, keyboards, subwoofer, mixer...), and I covered my recording studio in antique oriental rugs from eBay. I started on eBay in '98, before rug dealers had figured it out, and a few enterprising dealers wanted to try selling. It was awesome while they were all about "letting the market set the price" and not having reserve prices. That wild market lasted about 8-10 years, and now it's more challenging. A lot more challenging. Still, you can look at a rug, if you know what you're doing, and get most of the information you need. Not so with violins. Not so with pro audio, either, but I have been very fortunate, and everything I have purchased has been great. Each area in eBay is a little world unto itself, and they can be quite different. One thing I noticed with both rugs and violins is that, since good ones are pretty expensive, there is a weird gray area where no one wants to touch something that's, say $2-5K. Even if it looks good. It may be half price (or more), but that's expensive enough that it can be scary to take the risk.
  9. palousian

    Samuel Zygmuntowicz Violin

    Landolfi has been told this. When they were posting several violins they had been offered, maybe a month ago, we were supposed to select the best one from looking at the mediocre images. It was some weird cross between a serious question and playing cribbage with a troll. They claimed that they were nowhere near a decent violin shop, and then we found out that, no, they weren't in Kyrgyzstan--they were in California. Something is not on the level with Landolfi, but for a moment I will ignore that, though--I mean, why not try to be straightforward and honest here? Whatever. Landolfi, you are obviously not knowledgeable enough to purchase a violin within your somewhat-mysterious budget by dealing with the open market. Just stop this nonsense and go to a professional violin dealer already! You have a decent budget to get a nice violin (it seems), if you don't shoot yourself in the foot by trying to make a score and getting less than your money's worth. One minute you want an old violin--the obvious path there would be north of Italy, where there are great 18th-c. violins--in appearance, playability, and sound--within your budget. Mittenwald, Vienna, Prague, etc. But now it's a living maker's work you're after. OK, whatever--lots of good advice in this thread already.
  10. palousian

    Bridge shape to suit music style?

    Fiddler here. I like a standard bridge arc, myself. Certainly for Irish music you wouldn't want a flatter bridge, since making double-stops easier would not be desirable in that style. In Appalachian and bluegrass playing, yeah, some players prefer a flatter bridge, but I have no trouble getting a triple-stop when I need one. I think that some of this tradition of a flatter bridge is that fiddlers have historically used a wider range of quality than violinists, and many players have done their own work--or at least not-professionally-trained folks have done the work. In any case, the flatter bridge thing is not at all a standard for fiddlers, in my experience.
  11. palousian

    Authentic Jacob Stainer violin

    Have you seen this one?
  12. palousian

    Violin finds / treasure hunting

    My violin, from eBay, to which I was directed by an extremely generous MN member to whom I am eternally grateful, would be the sort of tale it sounds like you're looking for, but that's already been a topic for discussion. Outside of that, maybe my coolest eBay find (for $200) was this awesome very old Afghan rubab. All it needed were the three main playing strings, and the seller was so relieved that it went to a musician that he gave me a great CD filled with articles, audio recordings, and videos. I only have four ragas in my quiver, but playing alaap on this thing is about the most calming musical practice I do. In this image, it sits on another eBay triumph, an extremely rare early 19th-c Chub Bash Turkmen main carpet, one of the earliest surviving examples of its type. Listed as "old rug."
  13. palousian

    The Blazing and Amazing...Mark O' Connor

    I have that Stacy Phillips (RIP) book, a really odd and extremely useful resource for Texas fiddle playing. His transcription of Johnny Gimble's "Beaumont Rag" alone is worth getting a copy, but the book is utterly useless if you don't already now how to bow the stuff. I agree with you that this was the peak of O'Connor's artistry. He completely absorbed the Benny Thomasson thang and completely mastered the style. Then on to Grisman and that awesome recording with Stephane Grappelli. But as an independent voice, away from his mentors... uh, not so much. Oddly, I find this to be an interesting support for classical musical education. Obviously, Mark is brilliant. But he was pushed into a very narrow expression for music, which he mastered. But... now what? Well, Stephane Grappelli is pretty absorbing...and you can hear on the Grisman record how he absorbed that style... but there's only one Grappelli... Eventually you have to do your thing--I mean, he did great as a session god in Nashville--but that's everyone else's voice. The foray into "classical"- inspired music was a logical step but... he's uneducated in it. You can tell that he doesn't understand the depth of the tradition, but how does a guy like O'Connor humble himself and go back into student mode to study something greater than he is? The fact is, he didn't do it. And that's why I disagree with George H, above... Nope, he's no Paganini. Paganini did things no one else had done before; he pushed boundaries. O'Connor has only brilliantly executed what many people have done before. Great player, but... yawn...
  14. palousian

    The Blazing and Amazing...Mark O' Connor

    O'Connor is an interesting figure...on one hand he has a certain kind of (to me) emotionally-empty virtuosity, but like so many fiddlers who grew up playing contests, his playing is utterly undanceable IMO. I can't deny that he's got chops, but I would rather play one note soulfully than twenty mechanically, and if you can't make the music danceable...truly, what's the point? I can't listen to him for more than a couple of minutes.
  15. palousian

    Which violin to choose

    There is some weird missing component of this story. Just go to a shop in SF if you are north of Santa Barbara or LA if you are south of SB, and see what they can offer in your price range, or past it, if you are interested in seeing what's out there. Continuing to flog weird fiddles on this thread is pointless. My sense is that the "investment" component here was a red herring--you are looking for a violin that you will enjoy that won't drop in value the moment you buy it. To do that, you would have to spend a LOT more time educating yourself. Since you seem likely to purchase something before that education unfolds, you had better go to a legit dealer and see what they offer you. This thread is odd enough that I wonder if all of these are your fiddles and you're trying to sell them or something--an utterly un-set-up violin like your last example is not something that a violin shop would sell, IMO. Why would a shop let you take an un-set-up violin home? It's not like you're going to set it up and play it. No, a real shop would set it up and make it playable. What's really going on here?