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  1. "MK/sch" means "Markneukirchen" and "Schönbach," which are places where a lot of the trade in cottage-industry violins was done.
  2. People will put Dominants on anything; I would advise you to refrain from evaluating violins on the basis of the strings someone put on them. Anyway, this appears to be a cottage-industry violin from Saxony, c.1900. I am not an expert, and maybe one of them will post. In the meantime, here is a link to an actual Stainer. I have played one--it had an angelic sound and was a very beautiful violin to behold.
  3. There are many long-necked plucked lutes of this sort throughout Central Asia--dutar, sehtar, tambur, komuz, saz, etc etc. Depending on the tradition, you might see some form of diatonic scale spelled out in the frets (that may be the second example--though I'm not sure, since that scale looks weird), but the OP has its twelfth fret halfway between the nut and where the bridge would be, so that does indeed appear to be a "Western" chromatic scale, which was theorized in China long before Europeans came up with it. Many traditions in this region include intervals inside the European intervals--a third between our major and minor is common, for example--but our seconds, perfect fourths, fifths, and octaves are also fundamental intervals in most systems. If you look at a Turkish saz, or a Persian sehtar or tar, you can see that they've added extra frets for those in-between intervals. BTW, I don't think this is a "rubab," "rabab," etc. The rubab is an Afghan plucked lute, but it has a different sort of body, and generally has sympathetic and drone strings. They are pretty cool, actually. Here's mine...
  4. Well, I have to say here that I'm a bit tickled with myself, having identified this violin before the experts weighed in. All I have is the teaching of Sensei Saunders to go on, so it's not as though I didn't need expert help, but I have read a couple of these ID threads and thought, "Hm, Saxon..." and had it confirmed by those of you with actual expertise. So this time, I decided to put it out there and see... Offhand, I'd say that your example is at about 7 o'clock, but that's still in the same time zone. Here's a photo of my violin, showing a scroll cut to the "bitter end."
  5. Not sure and I'm not an expert, but the corners (which are not clearly shown), bit of a dog nose on the back of the scroll, and the button make me think it's a better grade of Saxon violin. Where does the scroll fluting end? I don't know what a Messori should look like though.
  6. Several commenters have likened the recording of Ms. Mutter to recording a film in the theater. The difference is that Mutter was in the midst of a performance, and she's of course supremely skilled, but having an audience member record you is distracting. So, this audience member, apart from the legality issue, is creating a problem for the performer. I think that's outrageous, myself. But... I once had a piece of mine performed by the St. Paul Chamber orchestra as part of a competition, and I asked the officials if they could make me a copy of any recording of the performance. They refused. So, in that case I installed a recorder in my suit jacket, with the stereo mic coming through the sleeve of my jacket, and I got my recording. Not even the people sitting beside me had any idea that I was doing this, the performers certainly didn't, I did not ever distribute the recording, and I just used it for my own study. I think what I did was technically illegal, but screw it... that was my piece being played by a great ensemble.
  7. It is almost certain that you don't actually have a N. Amati, and the label you see is not authentic. If you are curious what you actually have, you could post images and the experts (that is, not me) could sort it out for you. Here is a helpful thread that tells you the sorts of photos that the experts need to see... While it is true that an early-17th-c. Amati would be worth a devastating amount of money, there are also very nice Amati copies from the 18th-c. and later that are very nice violins in their own right and worth some $$$. The most likely case, though, is that your violin was made c. 1900 in the Southern German cottage industry and is worth a few hundred. It may still sound wonderful though.
  8. I am pretty sure (as much as a musician could be) that copyright law has an exception for "fair use"--that is, for educational purposes. Posting images of nice violins on Maestronet is a perfect example of educational use. No one profits, and it is for our edification. Not a violation, in my opinion. I used images of this sort all the time when I was teaching.
  9. Interesting, the violin with the clock... I wonder why there is a c.1890 ivory banjo tuning peg included. Also, the green fiddle would be perfect for St. Paddy's Day performances...
  10. Hi, and welcome. You are probably wondering why there aren't any responses to your query. The problem is that a paragraph description of a violin is utterly worthless for attribution--the experts (that is, not me) need photos. You are new and you have to make ten posts (I think) to get access to direct posting of photos here. You could post them on a photo-hosting site and post links here though. Here is a helpful thread telling you what photos are needed.
  11. AdBlock Plus, folks. It's currently blocking four ads on this page for me.
  12. I find it hard to believe that a violin made in 1797 would have a head of Beethoven instead of a scroll. At that time, Beethoven had just started making his name in Vienna (mainly as a pianist), and wouldn't publish his first symphony or string quartets for a few years yet. Either it isn't Beethoven or it was made after 1820.
  13. Yeah, but that is a completely different issue than what the OP is focused on here.
  14. Here is one on a c.1800 Saxon violin.
  15. The f-holes and corners on the OP violin are significantly different than this so-called "Mozart" violin, which I think is by Aegidius K., not Sebastian. Lotza Klotzs. But I agree that the back on your lovely violin is awesome.