• Content Count

  • Joined

  • Last visited

1 Follower

About Kallie

  • Rank
  • Birthday 08/06/1993

Profile Information

  • Gender
  • Location
  • Interests
    Violin, Piano, Violin making and repair, Music, etc.

Recent Profile Visitors

5275 profile views
  1. Quite simply the average musician can't afford such expensive handmade instruments by living makers, even if it's worth it. Some soloists can, but I would imagine they would rather go for an old instrument as they can use it as a way to sell tickets. Some even say on the back of the program what "Stradivarius" or "Guarneri" they play, which does help, as people tend to think a person is more reputable if they play an "old brand name" violin. Everyone knows what a "Stradivarius" is, but how many people know what a "Insert Name of any Living Maker" is?
  2. Ideally you want to use Spruce, since it is a softwood. Spruce is NOT a hardwood. Do NOT use a hardwood soundpost. You run the risk at damaging the inside of the instrument over time. Even more so if the soundpost is incorrectly fitted.
  3. The change in sound you mentioned could be related to any of the things you mentioned. In my opinion, it would most likely be related to the soundpost, or the bridge. As you mentioned, both of these were replaced. The soundpost might be incorrectly placed or fitted, and the bridge might be too thick and the kidneys (the 2 holes on the bridge) too small. That usually causes a nasal sound. A better option than a shim, would've been to do a neck pullback. I think it was also discussed in this topic long ago, and it is almost standard for every trade instrument I encounter with neck angles which is too low. Unless the neck angle was too low to begin with, where a neck pullback would not work. A shim should be reversible, granted that he didn't shave the neck down to allow for a thinner neck. From what I gather, he didnt as you said the neck is very thick now.
  4. I found this on the website of a string instrument dealer in South Africa. "Johann (Hans) Fürst (1896-1976) was born into a long family tradition of violinmaking. There are many Fürsts listed going as far back as 1800, almost always associated with Mittenwald. For 3 years (from 1915 onwards) he was in charge of one of the largest workshops in that centre. Thereafter he worked for 4 years for Gustav Graseck in Munchen, but returned to Mittenwald in 1922, where he remained until his death. Hans Fürst was known for careful and meticulous workmanship, which is demonstrated in this violin – everything about it is tidy and crisp. He was primarily a guitar and lute maker, and violins by him are rare. This violin is dated 1946, when Fürst was at the peak of his abilities. It is an attractive instrument, nicely crafted. The two-piece back, sides, neck and scroll are of mildly-flamed maple with a medium but distinct curl. The top is of medium-grained tone spruce. The f-holes are sharp and nicely done, and the purfling is good throughout, showing a steady hand. All who have handled this violin commented on the beauty of the varnish – an unusually smooth velvety red-brown oil-based varnish, which impresses. Furthermore, it was a tradition of the Fürst family always to write out their labels by hand, and this violin follows the tradition. (See photo). This violin is in excellent condition with no cracks or apparent repairs. LOB is 36 cm. It was the main instrument of an important teacher who took very good care of it. It is well-toned and suitable for professional work."
  5. Hi, Does anyone perhaps have information on a maker Hans Furst, Mittenwald? Can't find too much online, or pricing history from this maker. Thanks in advance.
  6. I play one that says "Artist Violin Guarnerius", with the shield carved on the back of the pegbox. Some of those can make excellent playing violins, however the quality does differ. I've seen good and bad ones. Time period of 1890s to 1930s.
  7. Thank you very much, as always.
  8. Possibly yes, but does it not seem a bit too well made for an amateur to have made it from scratch? Unless it is by a maker who knew what he was doing. But that makes me wonder why there is no mention of the maker anywhere.
  9. Hi Ron, thank you very much. Yes it's been a while. Thank you for checking. The violin looks decent yes. My guess would be it was a violin bought in "white" and then reworked or rebranded by a hobbyist repairman/maker.
  10. Hello, Does anyone perhaps have any info on a maker/shop "W.H. Spence"? Couldn't find anything on Google. The violin is also signed on the inside on top. Only visible repair done previously is at the button. Thank you in advance.
  11. I use one for my viola. Works very well. If you don't have the option to try out different rests at a shop, I would think this would be your best option as it is adjustable. Had one for my violin as well, but switched to a Mach One knockoff (same shape cheaper price) that I got on Ebay.
  12. Thank you for the advice. Bohdan Warchal is also a member of this forum, so he might see this topic and reply himself. For what it's worth, I've been using Warchal Strings for about a year now and can honestly say they are some of the best strings that I've used. Specifically on my violin as well, where I've used the Brilliant, Brilliant Vintage, Amber and Karneol. Thank you. Will order a new string with my next order.
  13. Hi, Just wondering if there is a specific reason a viola string would unravel here right in the middle between nut and neck body. It's not near the nut or bridge, so no sharp points could have damaged it. The string is a Warchal Karneol. To be fair, I've had this string on for over a year, so it definitely does not bother me that it broke now. Just wondering if there is a specific reason for it to unravel in such a strange place. The rest of the string is perfectly fine. No damage/unraveling anywhere else. Thank you.
  14. Step 1: Buy a front row ticket with your instrument at the ready. Step 2: Pray that the Soloist break a string. Step 3: Casually hand instrument to soloist, and again, casually, say: "Keep it, you need it more than I do" Step 4: Profit.
  15. Some of these have been around for a bit, but I like them. Janine Jansen Hilary Hahn Maxim Vengerov Anne Akiko Meyers Corina Belcea (Could make it, with a good marketing campain. Currently focuses on her string quartet I believe) Cloe Hanslip (well on her way I believe. Only needs a big marketing campaign) Sadly I see so many performances of good players, yet you hardly ever hear from them again after that one competition or event.