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  1. My smallest viola model, 15.5 inches (39.6 cms.), a commission from a teacher of the Manhattan School of Music.
  2. Life is too short for drinking bad wine and playing with bad strings or instruments.
  3. It is hard and expensive to study a musical instrument. So, once you get a good match of strings that suits your instrument and playing style, forget the price and get the strings, and change them when necessary. I hate when I see one of my violas strung with bad or old strings.
  4. Just finished a 15.5 (39.6 cms.) viola, named it "LA PICCINA", as i have mentioned above, it is not an elegant, but a fat lady. I will put more photos in the Maker's Gallery forum.
  5. Very nice for a small model indeed!
  6. From what I see, most makers specialized in violas will offer Andrea Guarneri, Amati and (or) Brescian models, or personal ones inspired in these makers. The Strad model is still popular among contemporary Italian makers, because it is an elegant model. I do prefer sacrifice some of the visual aspect to favor tone, power and dynamic range. I see a strong influence of the Tertis model in many North American makers too.
  7. Hi Jeremy! Thanks for your kind words on my viola! I am happy you are in love with it!!!
  8. I had Tamestit's "Mahler" Strad viola in my hands sometimes when I met him for test driving my violas, the Mahler is a fantastic instrument, the state of preservation is really good. The first time I took it in my hands I instantly remembered of the Hill's remark about the head being too big when compared to the body of the viola. Tamestit is French, a Latin country, so he is an emotional guy, comparing instruments with beloved ones is not all that rare. Even an article about that was published in a Lutherie Italian magazine many decades ago, mentioning that we like to remember the virtues or our wives (and instruments) but hide their faults. The Mahler is on loan to Tamestit and, yes, he produces a beautifull sound on it and, yes again, a good part of the sound is up to the player. Yes, Tabea Zimmermann plays the Vatelot, but a friend violist always remembers that that's the only Vatelot viola he knows in the hands of a top player. And I agree with you that we are living in a Golden Age of viola making.
  9. Grazie ancora Davide!!!
  10. Grazie tante Davide!!!
  11. One of the problems with sizing and varnishing violins is the large areas of end grain that will absorb the size and varnish. So, while testing varnish, it is good testing it with wood pieces with exposed end grain too. By the way, come se dice end grain in Italiano?
  12. That looks like Julian Rachlin's viola, if so, I had it in my hands some years ago. I would make the C and lower bouts wider.