violinsRus

Hi folks, If you read the thread above you will see that I sent my poster to the first person who requested it, Hector J. I do not have a stack of them to offer, that was the only one!

OK my friend, how many customers have you tried to please with the fit of a bridge on their particular fiddle, for their particular style/feel of playing? It may not be rocket science, but it's way beyond the overly simplistic smerf you can pull off the internet with a few clicks. Sure, I think your bridge can use adjustment, but at this point any further advice won't help. Go grab a knife, a file, and some sandpaper and go at it. Tweak it until you are happy, I'm sure you can improve it, no kiddin'.

With the D sunk in so deep it's going to be pretty hard to play that string without brushing either the A or the G. No idea why it's sunk in like that while the other strings aren't, unless the luthier did it on purpose, or someone's been tweaking with it. But it looks like bringing the A down would be a help. Although it's risky to make such judgements without holding it and playing it.

Kirbeelee, if you go back to the original online ad you will see that the seller didn't even try to spell Zygmuntowicz correctly in the fine print. And to me it appears that the Guarneri label and the Sam Zig label are completely different, perhaps done years apart, hard to tell. But anyhow, it's a nice looking fiddle, and may have decent sound. And you didn't over-pay; if I was in the market for that type of instrument I might have dropped for it myself. Funny that the seller would say that he swapped a documented Klotz for this, and then list it in some obscure site for $1,200! Stranger than fiction...

I was watching this instrument in the online market due to the fake 'Sam Z' label, and I was convinced it would show up here after the sale! :-)

Sounds expressive. I had the pleasure of hearing your Nannerl viola the other day, in an outdoor quartet concert. Brilliant, what a great instrument.

maybe they were trying to lighten the frog end...

perhaps there was a metal weight in there at one point? to change bow weight and balance...

the only benefit I can see is for practicing vibrato, as an assist in keeping the finger tip in one place on the board while developing flexibility in the tip joint of the finger. but that can be achieved in other simple ways. One thing that worked for me was to roll up a small piece of masking tape on the tip of my finger, just for a few minutes of vibrato practice daily, until the tip joints learned some flexibility.

I've hit similar roadblocks with practice, and my goto for the last few years is to hit Youtube tutorials. Nicola Benedetti, Daniel Kurganov, Augustin Hadelich, various masterclasses, and other finds have been very helpful. I always locate something that inspires me to practice! Maybe a bowing suggestion for better tone production, or a way to improve vibrato, or some study for finger independence. So far this has never failed to push me forward when my interest is flagging.

This is a very informative plot, thanks for posting, but to me it shows quite a bit of deformation along where the STL's are said to be. Or am I wrong?

where is @BassClef? this little gem should join his collection!

Ditto, same experience. Good strings.

relisted?? https://www.ebay.com/itm/Stunning-Old-Antique-Violin-Bow-tourte/265065219523?hash=item3db71e45c3:g:I~YAAOSwFdRgK1lo

which is the source of my question, would that be typical of cottage industry in early 20th C.

I agree that the inscription is a repairman in Sydney, but would the existence of a neck graft change the picture? I think I'm seeing one, and the flame on the scroll is different from the neck.

Well, they even got as far as convincing someone to list the instrument as the 1737 McKay Strad on Wikipedia. There's got to be pics of the instrument out there somewhere... Keep digging folks. https://en.wikipedia.org/wiki/List_of_Stradivarius_instruments

I had wondered the same when I saw this article the other day, and assumed these are stock pics from somewhere.

I wonder if the rehair changed the tension across the ribbon of hair, causing the stick to bow slightly sideways, thus changing the bowing characteristics. I have seen this on several otherwise nice bows. And I agree with Stephen, that a recambre can subdue chatter.

I can't comment on the value or provenance, but I fail to see the 'terrible condition'. Is there some obvious flaws I'm missing? maybe you mean the damage by the treble ff from clumsy soundpost work? back seam? what else... buy it cheap and resell it to me at a markup.

I cannot argue with that. However it is still a pleasure to play it every day, and quite fun to study the original varnish, etc at close range. If it were in good condition I wouldn't be holding it now.

French, Paris, mid-1800's, Charles Jacquot. Nice violin, in spite of the extensive repairs. I am loving the varnish, just can't figure out how to get a close match. Of course the look is achieved with the correct mix of wood preparation, process, and materials. And in a case like this, age!

I can't believe it, so did I! I was trying to make it match this look and failed miserably! Luckily just a dream. Dream on, as they say...

Mimi Zweig is a wonderful teacher. I second the recommendation...

Strange, from a players perspective I have the opposite opinion. Evah P felt like wires, Rondos are like butter. Perhaps an exaggeration, but I like the feel and sound of Rondo strings a lot.