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palousian's Achievements


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  1. Hi Ickarus, Welcome to Maestronet! Tying your inquiry to an old thread like this isn't probably the best method to get noticed, but in any case, you need to post photos, so experts (that is, not me) can see what you really have. Look at this thread to get an idea of the kinds of photos you need. https://maestronet.com/forum/index.php?/topic/333119-how-to-photograph-an-instrument-for-identifcation-purposes/ Because you don't yet have ten posts, the best way is to post your images on a photo-hosting site, and put the links in your post. Start a new thread called "Violin ID" in the Pegbox area, and put these photos there, and you'll probably get information you can use. I'm looking forward to it.
  2. So, I have no idea about assigning value, but your close-up images of the corners give me more confidence in my attribution. I have played a few of these that sound great, and... you have to be honest with yourself here, but if it sounds great, I would think that $450 would be a bit of a low price. But for the value of a 1920s Dutzendarbeit violin in playing condition, it is about right (I guess). Others would have enough experience to put a price on it, but I think the best way to sell this would be to take it to fiddlers at festivals, and get them to play it--if it sounds exceptional, I would think you would get more than $450.
  3. Not an expert, but it ticks off a lot of the boxes for the "usual," c. 1920s? (Fun to get a chance to apply the teaching of our senseis!) A closer look at the corners would show whether they are pinched together, but I would expect them to be, since they appear to be rasped off. With a fiddle like this, the sound actually plays a role in its value. If it sounds great, you can get more for it than... if it doesn't, I think.
  4. The chances that your violin is an authentic Maggini are virtually zero, but it might be a nice violin. Be prepared for it to be made in Vogtland in what is now Germany c.1900, though, as that is the most likely origin. So, if you want to know, take good photographs, following these instructions-- https://maestronet.com/forum/index.php?/topic/333119-how-to-photograph-an-instrument-for-identifcation-purposes/ Then you post those in a new thread, probably called "Violin ID" --since you don't have ten posts yet, you can't post them directly, but you can post them on a photo-hosting site and link them here. Experts (that is, not me) will come on and give you their opinions, which are generally pretty useful. I hope you do it! And welcome to Maestronet!
  5. Nothing wrong with a nice lion's head. Better than the pig-dog heads from 150 years later. I think Leopold wasn't a lot of fun.
  6. I just wish we could hear him. Dude needed amplification.
  7. I'm sorry you took offense at my reply. I was trying to be helpful and address your questions, but you provided so little information that it was difficult.
  8. You addressed this thread to recording enthusiasts, but then it seems that your question is about live sound reinforcement. Related, but... not at all the same. And then you say that your question is about microphones, but really it's about monitoring. For recording, my experience is that the sound right on the instrument is nasty compared to the sound in the room, and I can't imagine that clipping anything on your bridge would be a good idea acoustically, your claims that this sounds great notwithstanding. If that is true, though, and you are stuck with these, then in spite of "I really do not wish to invest in monitors," that is in fact what you need to do if you want to keep using sound reinforcement. Obviously, you have to hear yourself, and a monitor is how that is done. Period. In any case, it would be useful to know what gear you are using--you claim not to know "mic specifics" but, you're using them, right? Can't you call this person who purchased them and ask what they are? Can't you look at the thing and read a brand name? It's useful to know what you're dealing with, and it seems like the tiniest effort on your part would give us that information. I recently posted a thread about a great violin mic, the Shure SM-7B, but it looks like a couple of gray pint cups stuck together in front of you. I don't care about that, myself, and it is fabulous for both live sound (because it rejects off-axis sound so well) and recording. There are various close-mic options that clip on the side of the violin, but I prefer to have something I can back away from. Still, to play well with it... I need good monitors. And yes. there are feedback issues if you don't know how to set it up; you almost certainly need an EQ if you aren't using an in-ear option. I would hate to play where I had two wires coming off my instrument, but... The one exception to the need for monitors is to use an entirely different approach to sound reinforcement. I have started rehearsing with a guy who is testing out a couple of different Ear Trumpet condenser mics that pick up an area behind the mic well. We don't use monitors because we're half facing each other and I can hear both myself and him acoustically.
  9. Welcome ifiddler, You haven't posted very good photos for anyone to identify your violin. Follow these suggestions if you want to follow up on this. https://maestronet.com/forum/index.php?/topic/333119-how-to-photograph-an-instrument-for-identifcation-purposes/ That said, your violin was probably made in the cottage industry in Saxony/Bohemia in the late 19th c., but others more expert than I will hopefully weigh in. Better photos could help, and really... you could start a Violin ID thread for your violin instead of tacking it on to an old thread.
  10. I would go shopping for a Stainer. I knew a guy who had money and sort-of lived this dream. He bought a late Strad (I think 1734 or thereabouts), and kept it in a vault at a violin shop, where I played on it once. It was an interesting sound and had higher arching than I expected. I would still go for the Stainer. I got to play one of those once in a different violin shop. The luthier knew me, and had just tuned it up, and said--have you ever played a Stainer? You will love this violin! He was right--it was bliss.
  11. Oh yeah, along with the Electro Voice RE-20, it's a classic broadcast mic. I knew a classical guitarist who swore by his RE-20, but I think they are huge and ugly. The SM-7B is a better stage look. It was when I saw vocalists using it that I started paying attention. I should get a commission from Shure--I've already sold two fiddlers on them.
  12. I owe my last few years of violin-playing bliss to this group. I stumbled on this site as many do, and made my clumsy steps into this community, but I appreciate the professionalism of the professionals, and the quirkiness of the characters. I wish everyone a Happy New Year, and I am forever grateful. Thank you.
  13. I'm late to this, as is so often the case, but I had an unusual trajectory in the path of bows vs. violins. I had played for decades on a weird violin and a club of a bow. I had tried and tried to get them to do what I wanted and had mostly given up, but I was good enough to do gigs, and I did them. Then, I was giving a workshop in Irish fiddling, and a luthier who attended came up afterwards and told me that I ought to try some better bows. As it happened, I know an important modern bowmaker, and my wife, being the goddess that she is, commissioned a bow for me. My experience in trying several of this maker's bows proved immediately Martin Swan's elegant distinction of sound versus expression. ALL of his bows instantly transformed my connection to the instrument, but though they sounded "better," I believe that the transformation was in my contact with the violin. They ALL made the instrument sound better. I have been told on another violin website that my experience was BS because I am not accomplished enough as a violinist to know (yes, the commenter was a Neanderthal though probably a virtuoso--you know, whatever), however, this maker observed me playing his bows and though I kept coming back to the bow that I had determined in the first ten minutes was the bow I most preferred, he wanted me to keep playing all of them for a couple of weeks, then the two I most preferred. But I kept coming back to that first bow (a la Jeffrey Holmes' anecdote). That is, until the maker handed me the bow he had made over the previous few weeks, and that one was really something. Now... I suspect that I was handed a bunch of bows to try because they were all specific types this maker makes, and what I preferred gave him information about what worked for me. I don't think it was magic or juju or whatever, but this archetier knows what he's doing. Well, it didn't take too much longer for this fabulous bow to point out to me that my violin was the REAL obstacle. Actually, I realize now that it was pretty awful, but I had blamed myself for its inadequacy. This bow was the interface that demonstrated the glaring flaws of this instrument, and then... with the help of an eminent Maestronetter... I found a fabulous instrument to play. The sound was not in the bow, but bringing out everything a violin had to offer WAS in the bow. And it was truly a life-changing event to get that bow on a great instrument. Mission: Accomplished. And Happy New Year, everyone!
  14. Hm, I wonder what they want for the nice 19th-c. Qashqa'i saddlebag face that the instrument is leaning on... Probably looks something like this in the wool...
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