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Victor the violinist Cat

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About Victor the violinist Cat

  • Birthday 11/24/1990

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  • Location
    Ciudad de los Césares
  • Interests
    Food, scratchers, yarn balls, catnip, sleeping, and of course, string instruments.

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  1. In fact, searching in the site about Salzkammergut gave me material to study several days about it. But I will do it later, because seeing your video let me with a huge need of eating charcuterie, drink draft beer and practice my yodel singing.
  2. Thanks! I can't believe you even know from wich page it was taken hahaha. Putting obscure labels in weird violins is common, and way more effective than trying to make it pass as a Guarnieri or Strad. But I didn't buy for the label, as it was clearly too new to be real, and the violin looks older than the label date even. Just from learning all this, the price I paid is a investment on learning. If my interest were commercial I should be selling something else, as I still don't know a billionaire luthier. But this instrument will make a good service to some student who can only afford a cheap chinese violin, to later spend much more of the cost itself to make it baroque. If possible... what features makes you look to Salzkammergut among all the Vogtland possibilities?
  3. Thanks! Beech in this kind of violins is new to me! I knew of the Guarnieri's "Terminator", and a few others., but i didn't think it was used in factory fiddles. Messing with the cracks will not be profitable at all, but making it as a beginner's baroque is a good idea. It can be cheaper than the crappy chinese baroque violins, and probably sound nicer, and look better. I think my english term is not right about "half neck". That is how we say it in spanish, just translated. Is when you take out the neck to make a new one, but keeping the scroll. So is just the half of the neck what you make... haha. Neck graft is the proper term maybe?
  4. Hi people! I would like to know your opinions in a violin that I recently adquired. I bought it on ebay, because I like to buy instruments that catch my eye if they are at a low price. I have got some nice american folk fiddles, and other rarities to add to my colection. This one is a violin labeled as Robert Gregson 1898. As you can see, I wouldn't believe the label, as the paper is too white for the age, and I'm reasonable sure that ballpen was not invented yet at that time (or at least not popularly used). I believed it to be a saxon cheap violin, but now i´m a bit confused I evaluated the violin with Jacob's checklist for Mittenwalt/Saxon violins (I think that list is really the state of the art regarding this issue). I got some conclusions but still have a few doubts: - The violin is indeed built from the back (no corner blocks, ribs cut flush at the corners) - The scroll fluting ends before the end of the throat, and the spine finishes in a delta - The neck is built in a guitar-like way, being the neck block and the neck itself the same piece, with the ribs inserted into it. - It has no linings in the top side (??? never seen this before) - The purfling is painted instead of inlayed - I'm pretty sure the wood of the back and neck is not maple. I would recognize it as Sycamore, but it doesn't fit my idea of a German violin. - The body is of normal measure (355mm) but the neck is rather short, resulting in a string lenght of 310mm. - The neck projection to the bridge is standard, and being the neck as it is built, I doubt somebody changed it. - The saddle is inserted onto the ribs, and seems to be bone, or ivory. I know nothing about english violins, so I don't know if it could be really English. There are a few poorly repaired cracks (one of them is a very nasty soundpost crack). All are stable, but I'm thinking about redoing that. I think is somewhat a transitional violin, maybe 1850 or so? I don't know if spend time fixing the cracks better and making a half neck to correct string lenght, set it up as a late baroque instrument, or just set it up as a modern 7/8 instrument. It depends a lot on how valuable it could be. I still dont try it, but it seems to sound rather nicely. So, what do you think?
  5. Hi! My wife, our three cats and I are looking for a fresh new live perspective, and posibilities to study and develop ourselves. Our country is small and don't have a lot of educational offer, and virtually none to Instrument Makers. So I want to know if anyone there would want an assistant or apprentice... or salesman, or whatever!!. I'm a nice enough violin player, but also can play viola, cello, viola da gamba, and tons of other instruments. I have worked and learnt in a couple local shops in my country, and I run my own shop now here. I do repairs and build on comission. I have built violins, viola, viola da gamba, medieval instrument of various kinds, and now i´m making a baroque lute. I have many carving skills, i'm native spanish speaker and can speak enough english, I know about business administration, import and export, can fix computers and cellphones, have sales experiencie, and teaching experience. Anything I don´t know, i´m willing to learn it. I just want enough to have a quiet life somewhere, and to learn more and become a better maker. You can see some of my work on my Instagram (https://www.instagram.com/lacasadelviolin/) If you are interested on working with me, please send me an email to victoracf@gmail.com, and I can send you my CV. Thanks!
  6. Thanks! That's available in a website or I have to write email? I have never bought directly from them, and the dealers in my country just bring some standard models of all.
  7. Hi! I have been wondering if anyone of you know where to buy nice wood for cutting bridges? I usually would use Milo Stamm for every setup that I have to do, but now I have been asked a lot of times to cut custom made bridges for early music instruments that have different measures from the standard. I'm using some scrapwood from backs, but i'm pretty sure is not the best wood for it. Here you can see two examples I made this month, one is a bridge for baroque violin, the other for a sort of renaissance vielle. Any advice or comment would be appreciated. Thanks!!
  8. Long time far from the forum, and from the workbench. I got my left hand fingers slabbed by a electric jointer 1 1/2 month ago. Now i'm coming back. Here is, it actually happened!! Still not finished yet... I have to make tailpiece, and finish the bridge (is still asymmetrical at some points and somewhat ugly). I used cheap woods for this one, and tried to make it look like not so new. I never understand why early music instrument makers use a so clear varnish and new looking, if they are trying to make a replica of an old instrument... anyway.
  9. I had tried with the liquid hide glue of Titebond. I find it is strong enough for simple works. I would not set a neck or something like that with it. For fast simple works its fine. I also use it as a ground, it really saves time to not heat the pot. For stronger needs, I use the international violin fish glue. I'm happy with it, never failed to me. So I just use the common hide glue when I need to make rubbed joints or something I can not stand the open time.
  10. Pawlikoswski is very renowned in Poland. His instruments are beautiful and play really nice. Difficult to beat the price. I had in my workshop a couple of violas of him, I believe he is a lot more famous because his violas than his violins. Just a month ago I had to set up a Pawlikowski violin from 70's. The sound is a little too bright, but pretty amazing, with great projection. I think that bright and a little brittle tone is common to most of modern eastern european makers.
  11. As violinist and maker, I can tell you that what you need depends a lot. I think the concept of what is good for sound is a lot of local and time fashion, so most of players will have a very strong idea of what is good for them (always their own violin, most of the time) and everything else will be not good enough. I see a lot of players here that would prefer their dull sounding Shönbach fiddle to an Italian violin easily, because they feel it sounds "harsh". From the people I learnt a lot about sound and that, was from the teachers of the universities and conservatories. They usually have pretty good violins, and a lot of them. Also they know a lot of players and students, and have seen a wide variety of instrument, enough to make a good judgement of what is a "consensual good" sound. They also spend more time thinking about it, so they are more likely to know and explain what is it lacking to be better. Also, when getting a violin evaluated for a player, be careful to be sure about how to understand what they want to say. The player will just play and make an idea, but you don't know if they are evaluating the instrument, or the setup. This can be very important. Sometimes a fiddle is labeled as "terrible" just because the setup was not good enough. Then, awful fiddles with good setups, will be seen as good. So what I try to do, is to find with kind of people is my target customer. Then find a representative player/customer, that can be considered as a "model customer". As most of my customers are players or students from local orchestras/universities, having the advice of the teacher from the local university is excellent for me, because almost all my customers were their students at some point of their life, or at least is considered as a role model for them, so what he say can be a very sure idea of what any player that comes to my shop will think. Besides that, I don't believe a lot in Violin Making contests. Because of the fashion factor, you can evaluate something, but not find a "winner" fiddle among all. You can judge aesthetically, artistically, physically, but not all at the same time. When I was in Argentina, I worked for some shops, and what was good there, is bad here at the other side of the mountain and viceversa. greetings!
  12. It seems that the time to buy that books have come... there's a lot of useful info on them as it seems. Thanks!! Yes, I'm aware of the existence of these plans... also some available from GAL, but neither of them have enough info to actually build the instrument... there's something missing in all of them. Unless you actually have built some viols and lutes before, I suppose. So there's a missing piece of knowledge for me before being actually able to understand the plans as I do with the violin's posters. In my country there's no viol maker to find out. Even there's no a lot of violin makers, let's say less than 10, and only 4-5 good enough for something. Any viol I could make would be nice, since I don't have any other plan for it besides learning about it. So far all the plans I have found doesn't have all the info to actually build, do you know a good excerpt? and info about making? Thanks!! I have been looking at Lundberg book from some time... I was hoping to get a Pdf copy somewhere, but it seems difficult, I think i will have to buy the physical copy. I loved the David Van Edward course... i'm thinking about getting it. Thanks!!
  13. I'm interested! sadly i'm from another country (unless we can solve it). I have a lot of repair shop experience, as i have been working on them since i was 14, and have been 5 years running one. In my country I do the set up work and quality control for new instruments to the two major companies, and also the instrument line I sell in my shop. I set up something like 40 instruments every week. I'm also violin player, and can play viola and cello. If the position is available I'm willing to move to another country.
  14. I have the same shaper. Just put the reamer on it (opened to the max. size). Then with a allen key move the part of the housing to make match the taper. With the same key move the cutting blade to touch the reamer (be sure to have the part of the reamer that is totally round to that side). It must just be touching, not really pushing inside. Then it's done. You can play a little with it, to find a setting for confortable to you (the deeper you put the blade, the more rough and fast it will cut). If it is cutting too rough, or breaking the wood, or not cutting at all, it could also be not sharp anymore. Then just take the blade apart and sharpen it. Sorry I don't have how to make a video to show it!!
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