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Everything posted by glebert

  1. Man, the ONE time I try to help out with an ID and I screw it up..:)
  2. That is so the violinist can here herself better. Seriously, they have started making acoustic guitars with holes in the ribs for the player to hear themselves better.
  3. Welcome to the forum! I am not quite sure what questions you are trying to get answers to, is it just about the fittings or the label or something else? Based on what I have learned from others here on MN I would guess this was made in Markneukirchen (now in Germany) in the violin making cottage industry that they had there prior to WW1. Others could give a better guess on the date, as they made violins there for quite a while, but it seems like most are in the 1880-1920 range. They are pretty common and probably don't have a great deal of value, but may end up being nice sounding instruments. They did have "fancy" grades of violins with inlays on the backs but that tailpiece may just be a later addition. Regarding the label it was common at the time to put in labels with the names of famous makers, but they aren't considered fakes, copies, or reproductions. They had big sheets of labels with a variety of makers and they would cut them out and put them in somewhat randomly (from what I have read). It wasn't clear to me from the picture what the problem with the bridge is, maybe you could elaborate. Also, have you checked that the soundpost is installed in more or less the right place?
  4. I have an all spruce cello, but it seems very crudely built and never bothered getting it playable (it needs peg bushings at least). I did get it to make some sounds before the old pegs broke and the sound was not good.
  5. If you go to ebay and search for "luggage latch" there are quite a few different kinds, if the case manufacturer can't supply.
  6. I didn't even know this place HAD a front page.
  7. For instruments that are complete and working, as well as for the amplifier, I would consider consigning them at nicer shops locally or in Seattle if you don't have much in your area (you must be in Bellingham area, right?). I do guitar amp repair/sales as a microbusiness and find that once you get above about $500 price point the commission you pay to the shop will be offset by being able to sell at a much higher price than selling on Craigslist or something. Also you can do this quickly and have those things out of the way and not have to deal with flaky potential buyers. While you may not have a professional shop, it sounds like you have enough that someone could use it as a starting point for a business, maybe not a big operation but more like a part-time gig during retirement.
  8. I think this is the best way if possible, and if you are available to be a consultant to get the new owner up and running might be a value-add.
  9. I guess I don't get why people feel the need to bash on anyone's instrument, even if they think it is trash. Do you go up to people and tell them their children are ugly and that they will never amount to much? I was raised with the adage "If you can't say anything nice, don't say anything at all." If someone wants information on a cheap instruments you could just say "it will never be worth very much, but hopefully it plays well for you." or maybe once it has been determined what an instrument is just let it go and find something productive to do with your time? Me personally I will take being kind over being an expert anyday, and there is no reason you can't be both. Think of the appraiser on The Antiques Roadshow. 95% of what they see is probably junk, but they can evaluate the items with a smile and kindness and usually everyone leaves happy.
  10. Different model, don't know if this is helpful or not. I always thought this model was more elegant looking than some others.
  11. I think for many professional luthiers their opinion of an instrument is tied to its monetary value because they can't work at a loss or tell people that a low value instrument is worth fixing (again, from a monetary value perspective). I am not a professional luthier, not even an amateur, just a guy who hacks on low value cellos sometimes.
  12. Kristen, I am glad that you play your violins and enjoy them. There are some on this forum who seem to have lost the enjoyment of playing music, if they ever knew it.
  13. Think it will improve in another 10-12 years, or is "store room" the new dustbin?
  14. glebert

    Yamaha V5?

    I am always surprised what cheap stuff people will fake, and how good they can be. Knock off guitar strings, golf club grips, and WD-40. Supposedly Martin keeps changing the packaging on their strings to stay ahead of counterfeiters, There was also an apocryphal story of an audit at the WD-40 maintenance department found they were using fake stuff themselves on the machines that made the real stuff.
  15. My wife wants to know what music he is playing in the first segment.
  16. From what I have been told here dendro only works on tops, so if the top has been replaced then all bets are off, right? Don't know that it happens alot, but it is perhaps one more limitation. It would be nice to be able to date all parts through something like C14 testing (fyi, I really don't know anything about that either) to see if all the parts are at least x years old.
  17. It's probably in such great shape because it was too small for anyone to play!
  18. Reminds me of Willie Nelson's guiter (Trigger), which has great big holes and cracks, and he won't let his luthier do any more than the bare minimum necessary to keep it from falling apart.
  19. If the dark varnish is an attempt at patina/antiquing/relicing would that color have been done last? If this was done with spirit varnish I wonder if it could be removed or at least significantly lightened just with alcohol. The only instrument I have refinished was a student cello with spirit varnish and I got most of the color off by wiping down with alcohol on a scotchbrite type pad.
  20. Honestly asking because I don't know. If high throughput is a goal, are there efficiencies to be gained by doing multiple instruments at a time and do ribs for a week, tops for a week, etc. rather than doing each instrument sequentially?
  21. I hadn't really thought much about the economics of making instruments before. This article ( from 2009 says Zygmuntowitcz was selling violins for about $53k, and that he only did six instruments a year. Not saying that isn't a decent amount of revenue, but with an apprentice and a five story brownstone in Brooklyn the pay is probably less than a junior trader makes, which is kind of depressing. I could see how this would push some makers to get a bigger workshop and hire more workers to sell more instruments including lower grade ones.
  22. Kind of looks to me like the area around the bass bar has been scraped down, maybe it had an integral bar that was removed and replaced with a glue in?
  23. AFAIK all of the old instruments have been torn apart and fixed and rebuilt over the years. They were often changed significantly in the process. For violins the necks have often been lengthened, and the large cellos have been reduced in size to make them more playable. There was a thread a while back where someone discussed that the when fixing a very valuable instrument the shop would be required to obtain special insurance which was ridiculously expensive. I would guess the top shops may already have this, but it is still going to be expensive and get added to the cost of repairs.
  24. There is a record of a Karl Weigand working in Brunndobra, which is kind of what the first word on the third line looks like. He started in 1922 so the year works too. Right under the name looks like it starts with geigenb... but not geignbaumeister (which is master luthier, right?), so maybe something like journeyman luthier?
  25. I know the guy who does the Stew Mac repair videos (Dan Erlewine) talked about harvesting wood from pianos, but I think that was more for repair work than for building. Also, he is doing guitars not violins.