zhiyi_zhang617

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  1. A over 100-year old low grade Markie that has nothing to do with Guarneri.
  2. Thank you, Rue. While has an very old and worn Italian label, the violin in the picture believed to be a Füssen, ca. 1800 (or slightly earlier), based on the opinion of an expert. I have a couple of nicer instruments (probably more valuable too). My skill level would not do a justice of them as my play would not be able to bring out their tonal potential. You first point reminds me and is alarming. Once a professional played a couple of passages of Bruch g-minor on a violin I acquired in Prague years ago, a 1920s Bohemian DG copy from a known maker. Her only comment, after she played: "the violin has a very pure tone and you do not need to look for anything else." Have not really thought of investment. What I have are not considered to be truly investment grade anyway. It would be great if they would hold their value overtime. Not thinking of the more expensive, but still the better sounding (and of course good-looking). Maybe, my intention of the topic is to initiate the conversation with the experts at MN, thus to share our views on something we are probably all interested: tone vs. value.
  3. Not a bad fiddle; however, the clumsy scroll is the giveaway.
  4. Thank you for the recommendation. I am afraid that I have passed that stage. I believe you probably know what I meant if you saw the photo I attached. Once again, I just try to nail down the very last but great sounding one, then I am done for good for such a rainbow-chasing game.
  5. Thank you. This is informative, interesting, and indeed scaring, a typical student could be potentially better sounding than a Gagliano that is known for among the best for acoustics. If this doesn't occur that infrequently in blind test, one would be really confused for the price point for the best sounding instrument. wouldn't (s)he?
  6. Thank you all for such enthusiasm in participating the discussion, which is indeed beyond my expectation. Maybe, please let me elaborate a little more as a response to several questions: I am an amateur hobbyist thus have a very small collection mainly fallen within student to pro (orchestral) level. Thus, I, given the modest budget, am not looking for another one just to increase the size of my collection, but the one, and possibly the final one. Therefore, I need to gain info and knowledge of sound as much as possible, particularly the good options in levels of pro (orchestral) and maybe pro (performing) before I resume the action. If there is not really such a "that one", I may never resume the action. I have tested quite a few in my local shops. So far, have not seen one markedly better then what I already have in the pro (orchestral) price point. Just to be somewhat tangible, the following picture shows a typical one of what I have. I doubt I am lack of the handsome-looking and probably the nice-sounding, including what I acquired from a well-known auction house. However, I am not so sure I have a great sounding instrument. At the end of the day, the sound is what I really appreciate and enjoy from a perspective of a player, even a technically poor player.
  7. I know virtually nothing for a violin, however have kept hearing people mention Collin-Mézin. I have owned neither a Roth nor a Collin-Mézin. Therefore, probably just ignore my naive response.
  8. I have zero knowledge on cello, but just think the roughness enhanced the depth and profoundness that make it extremely handsome
  9. That is exactly what I expected. His instruments appear to be handsome and Cremonese.
  10. Which were the four instruments with preference scores ≥0.5. All of them appear to be reasonably affordable (≤25K). These data could be valuable, although the expansive ones were too few to be used for correlation thus generalization (just one at $250K and another at near $50K).
  11. Was Californian Ignaz Lutz from the very same Lutz family in Vienna/Schönbach?
  12. There are not in the same price point. While Lutzs have been sold in auction for approximately $6K to $10K these days, I would expect those ones, in good condition, would be at least asked for 20K in the shops, wouldn't they?
  13. Really? As long as they are all commercial, the rule applied for car purchase would be also applicable to violin acquisition. Only based on the tonal quality, a modern Chinese, in student category, would be hard to beat! in fact, anything under $10K, a Chinese would likely be a winner.
  14. Wow, thank you very much for all the responses, which are all informative one way or the other. However, I would be keen to remind that OP is mainly referring to the best sounding in each price bucket. Once again, for a simplified example, we have many sources for student violins ($1,500 - $5,000), including modern Chinese, e.g., Jay Haide, Scott Cao, and Ming Jiang Zhu, just to name a few, non-name 1920s -1930s Europeans, and turn of the century (≥100 yrs old) factory, etc, JTL, Schuster, etc. While they are all in the same price range, which one would be more likely to have a slightly higher probability for the potential of a better tone. I believe it would not help me that much as I am not so fond of this category. However, it would help the students and/or their parents to acquire suitable violins for their growth curve. To be very specific, which one is potentially a better buy for the acoustics only among 100 yr-old factory, just say between a J B Schwartz copy (German) and a F Caussin copy (French)?