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About SeeryStrings

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    Junior Member
  • Birthday 04/26/1977

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  • Location
    Bristol, CT
  • Interests
    Violins and everything about them, mountain biking, historic buildings, and much more.

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  1. I wish I had taken pictures of the interior when I had it apart, but if you've taken apart many German workshop instruments, you probably have some idea of what is usual inside one of good but not the highest level quality. It is fully blocked, the top is well graduated with a bass bar positioned well and probably about a centimeter tall in the middle. The linings are spruce and well fit but not artistically done. Blocks same deal. Maybe I need to get one of those interior cameras, it's tough to describe this stuff with words. The pins are indeed "cosmetic". One came out when I had it ap
  2. I recently fixed up this violin for a client. It is unlabeled and doesn't even show signs of ever having been labeled. It is obviously a Stainer body shape, and the antiqued finish and interior construction suggest a workshop violin (probably German, probably late 19th early 20th century), but from there it gets more interesting. The f holes are the most curious part to me and I was unable to find any exact matches. They most closely match those of Italian violins from the early to mid 1700s from makers such as Tecchler (1737), Tononi (1725), Carcassi (1752), Guidanti (1740), and Bairhoff (175
  3. I have very much enjoyed this discussion. For whoever said I'm disguising a desire to bash Tomastik by questioning Dominants, it simply is not the case. The most prevalent strings in my shop and showroom are Tomastik strings. I'm a huge fan of their luthier sets known as TI and Rondo. The TI is supposedly a variation on the Dominant, I find it to have a rounder sound tonally (which I prefer). The Rondos are supposedly a variation on the PI strings (which are also great), but are more affordable and generally bring more vibrant and refined tone qualities to the table. Tomastik also now has Spir
  4. Okay, but don't you think that strings provide a powerful tool that allows us to move an instrument's tone in a direction or to bring out colors that might be hidden behind the string? I admit it is possible that the string brings it's own colors to the table as well. I don't agree with the suggestion in a couple places here that if a violin doesn't sound good with Dominants than it must either be a bad violin or a bad set up. I have spent hours adjusting violins with Dominants only to find out that it really just needed a different string set. I have also had violins come in with set ups done
  5. I once had someone tell me that Dominants have a tendency to "bend and instrument to their will." If I remember correctly this person liked that about Dominants, but I can see that being a problem too.
  6. So..., The other day a very fine player was in the shop and we were assessing a violin I had recently completed a overhaul on for him. I had strung it with Dominants, a string that even a decade ago I wasn't a huge fan of. However, I had about 5 lightly used sets in my miscellaneous string box (because I never end up using them) but thought every once in awhile a violin sounds pretty good with them and I wanted to just put something on there to get a sense of the direction to go in. He played the violin for a few minutes then asked me to change the Dominants and I suggested Rondos (a bulk purc
  7. Let us know the results!
  8. Often these violins also have no corner blocks and the top (inside) is very roughly carved - instead of smoothing it out evenly and then applying a bass bar, there is a lump of wood left behind in the general vicinity of where the bass bar should go. Replacing the edging is difficult and expensive. I'd usually recommend using this for decoration rather than spending the $$$ to have it repaired to be played.
  9. Check out my post about the Gaetano Pareschi 5 string cello. If you want any info about it, I'll do my best to answer. It is a very well crafted instrument by a very respected Italian maker.
  10. I would avoid buying a violin from a guitar shop or music store unless they have a knowledgeable violin luthier on staff. Often times instruments in this price range have factory set ups which are definitely sub par. Go to a orchestral string shop, preferably one that is run by an experienced violin luthier who is meticulous about set ups. Violins in the $1000 range can sound quite good for the price with the right set up, but I have yet to hear one that comes close anything in the $10K range provided both are set up well. Remember that the more expensive instruments can require a very skilled
  11. I actually tested this with a variety of shoulder rests. Here is what we found from least dampening to most dampening; Linnd shoulder rest, Ever Rest, Kun, Bon Musica. The Linnd was clearly the winner too, the minimal feet and the extra support that keeps the rest from squeezing too hard combined to yield the most resonance. The Bon Musica which is the one I use because I have a long neck, dampened the instrument most with the Kun being only very slightly better than the Bon Musica. The Ever Rest is a great choice for the money and did not dampen nearly as much as the Kun and BM. We also teste
  12. Hello all! This very interesting Gaetano Pareschi 5 string cello made its way into my shop for repairs and consignment. Of note of course are the folk art additions most assuredly not by the maker. Any idea how additions like that would impact the value of a piece like this? Anyway, something you don't see every day, thought I'd share!