fdl13

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About fdl13

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  1. Since there has been little response, would it be safe to assume that I shouldn't be considering these violins when their price is in the $15-20,000 range?
  2. Does the fact that I have no responses, suggest that these makers are phonies?
  3. Anyone familiar with either Ian Highfield or Pietro Guaretto as makers? I'm interested in possibly purchasing a violin by one of these guys from my local shop. I can't seem to find anything about either of them on the web.
  4. fdl13

    Roth rib thinning?

    I appreciate everyone's feedback on this. Kind of re-directing the topic now. I'm an adult beginner, I had no experience with the violin until a year ago (guitar player for 45 yrs). The Roth is my 3rd violin and is better than the previous two from a sonic and playability perspective. The $1700 that Michael threw out as a cost to improve the violin doesn't scare me off. The question I have is, since I'm a beginner, will the improved playability of the violin help me to improve? Secondly, since I'm a beginner, can I actually hurt the intrinsic tone of the violin with my immature playing technique.
  5. fdl13

    Roth rib thinning?

    Thanks for the replies. From the looks of my Roth, it has not been played much at all. There have been no repairs, scratches, nicks or any signs of finish wear. The finish has faded as can be told from the big change in color under the chinrest and tailpiece but that's it. It may have been a wall decoration? The major thing I've discovered about this violin is that it's tone changes radically when removing the chinrest (over the tailpiece or sidemount; either one seems to make the same difference). I currently prefer the tone without chinrest. I'd be interested in the list of things that are typically done to a 20's Roth, how much it costs and what tonal or playability changes come from those operations?
  6. fdl13

    Roth rib thinning?

    I doubt if any local luthiers would know of this thinning and I'm sure that I would never let them attempt it. I'm trying to learn more from this forum so I can decide if I will send the violin to someone I would trust to do the job (ie Darnton, Holmes, Alf, etc...).
  7. fdl13

    Roth rib thinning?

    I have no idea, or any tools to measure them
  8. I've read that Roth's benefit from rib thinning. I have a 1926 Roth based on the 1725 Strad: how would I know if I should consider having it thinned? From a sonic standpoint, what would I likely gain?
  9. fdl13

    NYC Shops

    I'm not looking to buy anything; just to see the most impressive shop in the city. Maybe get to see what a $100K violin looks like or a whole wall of them. We don't have shops where I live that have the "good stuff".
  10. fdl13

    NYC Shops

    I'll be in New York City next week. If you could only visit one shop in Manhatten, which would it be?
  11. It's a great violin; a real find. I like it very much, I'm just trying to make it the best it can be for recording. As long as a microphone can pick it up from 3 feet it's loud enough. I just don't like playing high tension strings (Evah Pirazzi) and want to get a great tone and responsiveness with a low tension string.
  12. Jacob, thanks for hanging in there with me. This is very important to me. My violin passes your steps 1 and 2 with flying colors, that is why I skipped to step 3. What I am getting from your explainations is that I should now try to find the string that works well with the professional setup that's currently on the violin and once decided on the string, take it back to the luthier for the final tweaking to optimize the setup for that string. Am I on track?
  13. OK, walk me through your process. A customer has brought you a violin that has frayed, worn out strings on it. The customer likes a very responsive violin with low tension strings and wants a warm rich tone. This violin will only be used for studio recording (over dubbing parts on country music songs). In what order would you attack this challenge? I'm keeping this discussion alive because I need this violin to be as good as it can be. I want to know what I need to know (or more) to make sure I can help the luthier to give me what I want.
  14. My violin has had a bridge and soundpost made and fitted to it by a professional luthier. The strings that it was setup with were Evah Pirazzi which I don't like: too loud under the ear and too tense under the finger. I have been trying different strings without changing the setup. Some strings I like the the feel of and their general tone qualities. In general, I like strings like the Vision Orchestra and Obligato weich both of which are low tension sets. Neither of those sets feel as responsive to the bow or set the violin into vibration like the Evahs. The question is, would a change to the setup, specific to those string sets improve the responsiveness and vibration of the violin. PS I'm not going to make changes myself. Any setup will be done by a professional.
  15. My very, very limited experience suggests that the characteristics of the tone and response of the violin can be drastically varied by the bridge, soundpost and strings. So, my original question could also be phrased as: Which of these (3) components should be decided upon first when trying to optimize the playability and tone of the violin.