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  1. That graft is strange. It appears to be the second graft, and with that odd notch, and the little pieces added at the top, I can understand that it probably isn't the original scroll, as Blank Face thought. There's definitely a story there. The notch appears to me not to be a break--the surfaces look clean--so I would think that b.home could get a luthier to fit in a little maple piece there, maybe? So, from this, I wasn't sure if it was the scroll or the body that was like a Ficker/early 19th-c. I am of course barely knowledgeable in this, but I wonder if I could see a couple of
  2. Yeah, a light could be shined in there and show it for sure, but photo #4 seems to show the fluting going past the the usual Vogtland scroll. Definitely a different time zone, IMO. Bridgeshome has only eight posts, cut them some slack!
  3. I am not an expert, and I don't even play one on TV, but I want to try to apply the Jacob Saunders® method to this lovely violin and see how close I get. And then the actual experts can come on and dismantle me, and we'll find out what this violin actually is. OK, so I don't think this is "the usual." Scroll fluting goes to the "bitter end." Corners appear not to be pinched together. One-piece bottom rib. I don't think this is BOB. I confess that the elegant shape of the f-holes (which is not really an official thing, but...) looked Mittenwald-y... So, Mittenwald, c. 1780-1
  4. Hi bridgeshome, welcome! Not a bow expert (just a user...) but this sure looks good to me; the wrapping especially is nice.
  5. As a player, I always blame myself. The fourth-finger variety especially. Are you saying I can blame my tools?! Tell me more!!
  6. That open crack in the back of pgidley's violin's pegbox is a bit of a concern, is it not?
  7. Hi 4thmonth, You mentioned a bow, so you might as well take some close-up photos of that, too, because PhilipKT will be coming on here to ask you about it, sooner or later. Besides the unusually-good inlay work (a lot of times on these "fancy" Saxon/Czech violins, they cut a channel, glue in some mother-of-pearl bits and fill the rest with black paste--here they really did some inlay! And engraved, as well. That's something you don't see every day), this looks to be in decent shape. No cracks that I can see. You need a saddle there and a bridge, pegs, tailpiece, sound post (?), s
  8. I'll go out on a limb and suggest that #4 (the J. B. Schweitzer) was made in the late 19th-c. in some anonymous workshop near Markneukirchen.
  9. I have been around Irish traditional music most of my life, and while there are many songs in Irish, of course, and MANY Irish drinking songs, I don't believe I know of a single Irish drinking song in Irish.
  10. If you've been reading the Pegbox for a few weeks, then you probably can predict the response of the experts (that is, not me) to your scheme to buy a violin on eBay. If you don't, then you haven't been reading enough. A professional would advise you to go to a violin shop and let your daughter try a bunch of violins and bows, and trying to get a good deal on a violin on eBay when even you can tell the seller is lying is a recipe for disaster. Are you not anywhere near a violin shop?
  11. I know Ben--yeah, he's great! He also started out as a classical player, too, but definitely has absorbed all sorts of traditional fiddle styles. He definitely makes the connection between old-time fiddle and the blues, but as I said above, he has had to reconstruct the style from the evidence, not coming out of the tradition himself, as is true of any fiddler now trying to figure out how to play blues on the violin. I would think his background would make him an especially good teacher, though.
  12. Hm, well, you didn't listen to much. I mean, your guy, Sugarcane Harris, is a classically-trained violinist from Pasadena, CA who played rock 'n' roll with Zappa. Great player, and sure there's blues in his playing, but Pasadena isn't the Delta, vathek. Clements came from the Florida panhandle, and grew up playing a remarkable range of American music, claiming a considerable influence from big-band swing, blues, and country music. If you actually think country music and bluegrass have nothing to do with the blues---well, then, you're misinformed. They are entirely intertwined, and Clements
  13. You evidently have not heard Vassar Clements.
  14. In my opinion, there isn't a straight path into it, because it isn't really a living tradition. Most fiddlers who play blues have reconstructed the style in varying degrees. First, I would start listening to a LOT of blues, concentrating on early lead guitar players (like T-Bone Walker), harmonica players, who I think absorbed a lot of African-American fiddle styles that never made it to the era of recording, and of course, singers. I would start with traditional fiddle styles that include blues-tinged playing, so Bluegrass, Appalachian, Cajun, and so on. My introduction to playing the blu
  15. I am not an expert, unlike many respondents so far, but... Is that crack open, or is it just clumsily repaired? If it's solid, then yeah, it was worth $200. I would say that it was worth a decent set of strings and a set-up, though probably not worth opening up and redoing that repair. Apparently it came to you sort-of set up--did it sound OK then? Full disclosure, I play fiddle music, and if this has a fat, dark sound... you could do worse.