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uguntde's Achievements

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  1. Aren't the front and back in the longitudinal dimension pretty flat around the middle where the sound post sits so that shifting it by 3mm doesn't need a completely new soundpost? How do you ever know it fits exactly?
  2. I once visited Schleske and he had 7 violins available to show. One had a massive wolf that he thought was no problem. Generally, every single one had an excellent sound (I didn't particularly like his replacement of purfling which he used at that time). Here is someone putting the weight in the peg box although I think the wolf is not gone. There was a ink to youtube which git suppressed. Look for 'Wolf eliminator for violin# b by Andre Theunis.
  3. I recently got a P Hel in my hands which I had played before and it had a terrible wolf. A very nice violin, a collector's item. When I got it in my hands the bridge and sound post had fallen over. I reset the sound post and put up the bridge. I cannot find the wolf any more and that wolf was a real pain before (on the B on the D-String). I have no idea what I did, the fix came by accident. I used the old bridge position as marked in the varnish and set the sound post close to the bridge (not too much tension to start with and left it like that). Nothing extraordinary. I also have long had a Derazey with a massibe wolf on the C (D-string, depending on the weather also on the A string where it becomes a real pain). This made me never play it for years even though it has a very beautiful and powerful tone. At one point I added weight to the tail piece and it was all gone. In the end I fixed a very small piece of roofer's lead on the bottom of the tail piece with double-sided tape. This has been a permannent fix for a long time now. I have fixed many wolfs. Usually adding weight somewhere helps. I also use magnets to identify where weight is needed. If you put magnets on the front make sure to have some tape underneath in order not to scratch the fiddle's varnish.
  4. A few years ago I bought some Chinese bows made of Ipe and they are not bad at all, cheap stuff, I bought them out of curiosity, but they play very well. I recently saw an auction report (which I can't find any more) of a Nickel mounted Pecatte bow which was claimed to be made of Ipe - is it possible that Pecatte experimented with woods at that time? I looked rather ludicrous to me.
  5. WHat about ebony - is this still allowed for finger boards?
  6. Isn't speed of sound always 1300km/h?
  7. What is typically French with this violin? This is a nice instrument. £13,000 is a house number if one can't establish a maker, let alone the country of origin. I would not give much on a certificate by Bromptons. If I wanted to know more I would visit Vatelot for French or otherwise Hiereonymus Koestler.
  8. Have they been cured the traditional way in horse urine?
  9. For soloists newly made instruments are often travel violins one concern there is customs taxes which can become enormous for antique violins and hence require to fill forms. You also can’t have rosewood etc any more. However, good new violins also cost a fair amount of money. If you are looking for something really cheap that sounds and costs only a few hundred I would buy some Chinese on eBay. Some of them do have a reasonably good sound.
  10. Of course, this was a joke. But it would not be worth a lot of repair work. On the other hand I know one man who has learned repair work using such instruments.
  11. For oil varnish, applying it with your fingers many be an option. Cheap and works.
  12. If this wasn't you I would question this method. Don't most 'good' makers cut radially, i.e. from outside, and smooth chissel marks in the end (or leave them as Guarneri did).
  13. Firewood. Get it chopped up and burn it.
  14. I bought out of curiosity some cheap Chinese bows made of Ipe which play astonishingly well. They are looking for an alternative to the Pernambuco which is in short supply. Pecatte has made bows of 'Brazilwood' which are actually pretty good and still highly appreciated.
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