JacksonMaberry

Seems to me that if you intend to make instruments for any length of time, better to buy good wood when you can. The pine/spruce beetle issue in North America, at any rate, is only getting more pressing.

A compelling take, for certain. As always, thank you.

Your insights are most appreciated, Davide! I did check them all again today and I agree you are right - the P 1705 is a better match. I think I breathed in too much Paulownia dust yesterday, it was affecting my perception!

PM MS1062, which I understand is not listed in Sacconi's work and is possibly not from Antonio's hand. I was struck by how well it fit. I think I read here on Maestronet that the P 1705 is the correct form for the Titian, and so it's the first one I tried, but it seemed too long and I couldn't get everything to line up well. I trust you more than I trust myself, however, and I will check it again tomorrow. It is a shame that the CAT scan resolution is not so clear. =(

I gave him a polite heads up about over doing it after his performance. I can't recall what his 'backup' was, but the first stick he denuded is an 1880s H.R. Pfretzschner. He's now at IU with a new teacher, so I'll see how he does at his next recital.

I printed all of Addie's strad form documents and compared them with the Titian CT scan on a light table. The one that fits most closely (by quite a bit) appears to be the PM.

I'll pm you his phone number and you can let him know.

I know at least one young violinist who could benefit from such a thing. I watched him play more than half the hair off of two bows in the course of a single concerto. They'd both just been rehaired, by two separate luthiers...

I have to credit their inventiveness.

I was of the impression that the American tradition of making, pre-Sacconi, was heavily influenced by Mittenwald practices, due to the immigration patterns VdA describes.

Thanks for all your work.

Perhaps it just needs to be adjusted? I'd take it back to the shop that did the work and give them the benefit of the doubt.

Of course! The page on Gamuts site shows the method I've seen most in excellent detail. https://www.gamutmusic.com/tying-tail-gut/ Then there's this approach, which I saw on Joshua Beyer's Instagram (which you should follow if you use the app because his work is gorgeous).

I didn't get the impression from Dr. Tai's post that tone was being discussed, or any particular merit of what could have been a classical Cremonese wood treatment. I realize it's an easy leap to make because we're all striving for the beauty and complexity of tone available in some of these antique masterworks, however. From reading Don Noon's and others' posts on this forum, I would think the added dimensional stability alone would be worth bothering with some kind of treatment. We could continue to pursue the tone goal through other avenues.

Very interesting project, of course! I would consider making or having made a spruce core, ebony veneered replica of the type Herr Saunders describes. I might be able to supply you with some plan drawings to get you close, if you choose to take it on yourself. Another member here has written a really nice tutorial on making a Baroque fingerboard in a similar style that outlines the veneer technique you'd want to use. I would, personally, be quite leery of using the alloy wire tailgut, because if it happens to "give", the snapped wires could put an eye out. As long as you're willing to be somewhat flexible on authenticity, I'd start by doing as Saunders suggested and replacing the saddle with a flush edge piece, then use a nice thick tailgut, ~2.5mm, to secure the tailpiece. There are a few ways you can tie the tailgut, and if you choose to go that route I'd be happy to show you some photos. Best of luck!