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  1. Because everyone reads the Pegbox...

    Hi all, again. I am still trying to gauge the viability of an idea I have for a nonprofit organization in my community, and it still kinda depends on you lovely Maestronetters whether anything can get started within the year. I have located supportive faculty at the University of Kansas, veteran Suzuki teachers, a vast array of enthusiastic strings pedagogy majors who are willing to be very underpaid, children in need of private music lessons, interested grant making foundations, a large space and several small rooms that can be used for free any time, a luthier (obviously), contacts from similar organizations, and so forth. That's all pretty good, I think. While I have no idea how to apply for nonprofit status (I hear from an attorney friend that it takes many more hours than it used to), I would still like to get started. All that is missing is instruments. Tiny instruments to not-so-big instruments. Cellos, violas, and violins. Anything you might otherwise retire from your rental fleet. Anything that might be in a basement space never set up and gathering dust. That sort of thing! If I had nonprofit status for such a project, I could seek funding for new instruments, I realize, but again, that is really hard, there's no board yet for example, and also... I know that some of you throw away good fractional instruments from time to time. Also, still looking for advice and experiences with similar organizations and startups. I know there is such a huge variety of experience and expertise here, and I'm hoping to hear a few stories and experiences. Thanks.
  2. El Sistema-inspired startup advice/donations needed

    A foundation director I spoke with yesterday suggested that parents should pay something nominal for lessons, maybe $5. But for 2 private lessons a week, that could seem like a lot for some of these families. I like your idea better. The same result, parents caring about the benefits the children are getting, is achieved. Volunteering would possibly achieve that even better. Thanks.
  3. Hi all. My community has no free strings program for underprivileged children, and I think there should be something. Violin lessons are a heck of a kindergarten prep program. Also, the statistics are amazing for community programs that continue through secondary school. Anyway, it's not impossible. My church has enthusiastically committed lesson and sectional practicing space, and I know a dozen teachers. They want to help. Funding can be made available once there is the NFP status. In this case, everyone in my community seems like they have wanted to do something like this for years, but no one started it. Yet. Me, I guess I can. I don't know much about how to do any of this, but I can pull a board of smart people together probably. I can probably get chamber music to happen for an audience of little children and their families. I think it would be exciting. I hope there are lots of children who will want this. Has anyone here started something like this before? Does anyone here know a lot about the parts of El Sistema that work really well (and are culturally transferred to U.S. communities successfully)? If I do manage to cobble together a real nonprofit, which would be a miracle (I can admit that my personality is not perfect for organizing such a thing, but I think I can do it), does anyone have fractionals that you could donate? These would be given to the children as long as they need them. So that is a huge part of the project, and necessary for it to be possible at all. I would plan to pay shipping (in the event funding happens, and probably that's months away honestly) and I would make sure anyone donating would get proof for taxes etc. My husband can do setup if it's needed, but we just need decent little instruments. I know everyone switches out your rentals from time to time, so I hope you all don't just throw them away. You don't have to. Anyway, I was hoping to gauge interest on that part of it too. Does anyone read posts in this section? I hope so. Please advise....
  4. Acoustic science

    Annoying that his answer to the technical question was a brushing off of the curiosity of an internet audience. Why even post a video answer if you think no one cares about the explanation? Bullshit smells like bullshit.
  5. Pros and cons of Dremel Purfling router

    Yes, but isn't it difficult to know how much "sloppiness" is optimal? Too much, and the effort seems amateur. Perfection can lack character. It's the dilemma of professional violinists too. Anna Karkowska (RIP) clearly had technique. Her style was called "extreme Romanticism", a kind way to describe her interpretations. Joshua Bell even gets criticism for his slides too! So then is it best to have virtually no slides, like Hilary Hahn or Sarah Chang? Arguably not. It's something probably a lot of artists of all kinds struggle with.
  6. This post has been deleted

    ^^yes Jacob... I can only imagine what you said, and I know it was awesome. Some people shop at the luthier, then buy online, then expect to save money on the setup back in the shop. Those people are no fun. Most luthiers don't tell them about themselves because they are all scared and they have a business to run. But not having those people come back would be nice too. OP's situation is different--it's that the luthier stole from him. I see it that way. Does anyone else?
  7. This post has been deleted

    Or not. I hope not.
  8. This post has been deleted

    Absolutely. You just got fiddled hard. Who admistered such treatment? Enjoy your new bridge, which is worth most of $2. I bet they didn't even bother to fit and cut it correctly. If indeed you brought a viola bridge in, they should have let you know what they planned to do when you dropped it off. And not accepted it at dropoff. Aubert is not equivalent to what you ended up with, which you know. So of course you got fiddled. Otoh, trying to buy stuff online then having your local luthier sort it out is also underhanded. It can often be more expensive to do it that way, which I guess you just learned.
  9. Woodworking pedagogy

    Oh, I thought you were from Sweden, but I see you are not. Yes, "even the girls" would like to make things and would benefit from learning. I didn't have a dad to teach me anything, but I did want to learn and I signed up for a shop class elective in eighth grade. A terrible time. I was the only girl. All I got from it is that no one thought I belonged there, not that I was less capable of doing, but none of those boys liked sharing the shop space with me. I think it should be compulsory for everyone. Addie, I'm getting into "Two Little Savages"... it's wonderful. Thanks.
  10. Woodworking pedagogy

    Thanks, Addie. I will look up the Sloane books today. The book featured on Roy Underhill's show was the Teachers Book of Slöjd, which is in full text in your link.Great find! The whole point is the character building and critical thinking involved in woodworking, not just how to use tools, like you were saying. It's a very intriguing program. I wish it were required in the U.S. public school system. Anyway, it isn't, but I am glad to know about the historical educational woodworking texts available. You are a wonderfully knowledgeable resource. Thanks Brad. My son will have some woodworking classes starting in 4th grade if he stays in the private school he is in now, but I am hoping to get him started a little sooner and we think he can handle the Sloyd projects... not too difficult, but definitely requires decision making skills, etc. I think Sloyd is supposed to start at age 9. I'll have to ask or look up whether Waldorf schools teach Sloyd, but I bet that this method is what he will get in a couple years anyway, or close to it. Stavanger, awesome plane. I am a bit jealous of the Sloyd classes you got in your public school. I also like the illustrations in the book pages you posted. Thanks. Sloyd isn't optional in Sweden, is it? Lucky, lucky... it's like so many areas where our schools in the States fall would be so easy and not prohibitively expensive to incorporate this type of time-tested pedagogy in all of our schools, but we don't.
  11. Selling in a saturated market

    Like what? An aunt of mine says the same thing, but her idea was to make high-end corporate conference tables, super high-end furniture and such. Oh! So if you have the skills you can just march right into that market? I laughed but it was offensive too. You pretty much need a warehouse full of expensive tools for that. What else requires only a 4' x 7' space and a few sharp hand tools?
  12. Woodworking pedagogy

    Sorry it's not a specifically violin related topic, but I know of no other online community that would know about this and that is as likely to be able to share helpful experiences. The other day I saw that episode of Woodwright Shop where Roy makes a bench hook from the book and talks about the history of Slöjd. Apparently it's still taught in public school in some countries. The last time I saw this, my son was a baby, but now it's not an abstract idea to go through the book with him. I'm actually really excited about this, but the easiest way to elicit groans and whining from my son is to show that I am excited to do something or start a project with him. I think I will go through the book as a student with him, with my husband teaching us. Obviously he is on board too, theoretically. I didn't get the book yet. Did anyone go through Slöjd training yourself? Or do the book with your kid? I'd love to hear experiences and/ or advice. If you did this as a child, what was the pace of the projects? Again...Sorry it's not violins, forgive me. There aren't a lot of places to ask this sort of thing.
  13. Choosing a bridge blank for a Guarneri, and fitting it

    He isn't, other than saying that the needed adjustment is minor. I'm sure the devil is glad to have such a wonderful advocate as Martin. Do you use a bridge template? Many luthiers do bridges by eye, as they have been taught to do. Templates are useful though..the professional luthiers I know always use a template.
  14. Antiquing trick

    If you don't believe that there is a very important and real difference in every way between the mass production stuff out of China, most likely done by piecework, and something made by a person who knows what they're doing, why persist in this trade at all? Give up now. This is not the same thing as saying that some guys in China don't know what they're doing. Those people aren't charging $20,000 retail for a bass. I don't know what Conor charges, but I know for sure I would know it when I saw it. I doubt most buyers can really see the difference though. I am cringing a thousand cringes right now, but I know it is true. Most Chinese antiquing is a horror show, but good enough for players. So it's good enough. Don't think anyone doesn't see that. The challenge is to be very obviously different from the Chinese or East European stuff, because you have to appeal to different players than those who would buy that stuff. Hopefully not too tremendous a challenge, and certainly not for Conor I bet, but you're right that it's getting harder for everyone.
  15. Antiquing trick

    You should. Make it look fifty or so years old, I mean. Players see an instrument that is a little antiqued as friendly and inviting. Plus, a lot of the Chinese basses out there are straight varnished. I think that is part of the very frustrating problem. They use oil varnish too. Players need to be able to see a difference right away. If I ever bought a bass again I think I might want it to look new, since I know just enough to not confuse a $20,000 Chinese bass with a real one. But I am not buying. On the recent commission my dh had, it was hard to know how much to antique because the buyer chose a picture of a well preserved 300-year-old instrument as the ideal level but said to do around 50 years of normal wear. Oh, he wants it to look expensive. I think erring on the side of more antiquing makes most buyers happy. That was my theory. But I could be wrong. I really don't understand why they want their instrument to look 600 years old in 300 years, just that many buyers want to look like they are holding some relic, now. Obviously they don't think about posterity like the luthiers do.