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uncle duke

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  1. The first I noticed was John Osbourne "Ozzy". He more or less flat out hinted if you're not English I don't really want anything to do with you. Surely he has changed a little since then, I think he has. Jacob is not as bad as Ozzy in that respect. As for violins the English do and should, for the most part, walk the walk of self superiority - they are really good. Does Ann Arbor or Chicago along with the other "schools" like it? I'd say no but having a difference of seeing the way things should be can be good for all. The good thing about discussions turning south at Maestronet is tomorrow can be better than today - all one has to do is change the words and timing a little bit.
  2. That is the English way Pag. There is not really anyone to replace him as a specialist either. If you are some sort of a real Englishman he will like you better though.
  3. The busted A peg area is a shame. Someone will fix it properly one day in the future.
  4. option C - cottage industry made violin, sent to U.S.A., Stradivarius labeled unlatinized. My label I have here is on the tight hand side column of the full sheet examples of Stradivari labels that I assume are not genuine - which I'm also assuming Brad really wanted to make sure that I didn't have a real one, which I don't.
  5. Nope, a real fake 1722 spelt Stradivarius - you made me take a look to be sure.
  6. If there is reasonably tight grain line spacing on the belly the soundpost position is probably o.k..
  7. What else would cause deformed or not straight up and down corner joints?
  8. Jeffrey, a moderator here, doesn't care to have me speak of guitar on Maestronet. He says it detracts from future Julliard violinists' endeavours. I'll see if I can sneak this one past him. Pg. 4 Rumores de la Caleta. It's already been transcribed and more than likely altered by others over the years. I'm thinking wrong time signature - 3/8 and I'm feeling more notes added to make a 4/4 piece would be better but may detract from the Spanish sound. I have the feeling pg. 4 was transcribed around the first two measures of line 4 of pg. 4 - those do need to be a 3/8 time signature speaking - appears to me those notes borrowed from Barrios Capricho Espanol.
  9. Are the ones with the authentic Stradivari label rare or still common?
  10. Ultra thin ribs along with small, weak corner blocks will enable the deformation but you will still need optimum plate thickness, not necessarily thin, to get best sounding properties.
  11. I was thinking about smoothing lumpy, dirty. dusty homemade oil varnish cured on a violin. Mostly just to get to a smooth, flat scheen to clean up and work back to shinyness with compounds and polish.
  12. I was thinking that about the bass bar Rue and the other who mentioned to check the thickness of the belly. The barr does seem good from here. The examples that Spruce or Pine hasn't probably seen yet are the insides that were gouged out while retaining the integral bar but have the gouges unplaned and scraped - just hillocks on the inside bigtime. Don shows an example of that every few years or so but I don't mean to drag him into this. I had one like that {unfinished inside} with an integral bar dangling from the back end along with having an overly, overly thick belly plate. Regraduation with a new bassbar enabled easier playing but did not change the tone/timbre of the soundbox. This particular example here is really clean looking - just check the belly thicknesses and then make some sort of decision.
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