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Everything posted by Violinjon

  1. Sorry Andreas, I will discuss a completely unrelated topic! The violin sounds nice, I can't truthfully guess over the internet on a sound clip, sorry! To David - this instructor has a point. I believe if you watch any high level violinist closely you'll see that they never play with a completely perpendicult bow (or even worse, a bow tilting backwards). A slight tilt of the bow towards the fingerboard is very helpful in applying the weight of the bow and arm to push the contact point closer the bridge, which is creates a stronger and more focused sound (the focus could maybe be what he meant by sweet?). The bow tilt also helps keep the bow straighter at the tip. This increases volume. I'm talking about slight tilts, of course, which keep all of the bow hair still in contact with the string, not extreme tilts.
  2. I assume you are bothered by the high pitched mini-squeeks, especially obvious on the G string. I believe this is caused by the string not being sufficiently grabbed by the bow, which is the same fundamental cause of the famous squeaky e string. This can be solved by adding more weight to the bow stoke (not playing at the tip, for example, as you do in the video) but can also be caused by setup issues, lack of rosin, old or wrong strings, etc. Since you recently had your bow rehaired I think you might not have enough rosin or the rosin hasn't "settled" yet on the new hair - it can take a while for the new hair and rosin to blend and "behave" well.
  3. I think it's rather hard to get all these qualities in a synthetic string, plus reasonable projection. Amber is a good option, it isn't the darkest sounding but it is warm with a good approximation of gut string texture. Obligatos and Vision solo strings are both very dark, but at the expensive of most of the high frequency texture. Infeld Red is Thomastik's option for what you want. Actually the new Perpetual Cadenza strings are the most complex synthetic strings I've heard, although they are more warm than dark - vision solo is one of the darkest, but it is so focused that is a bit like a black hole on my violin, which is already rather dark. Tzigane I have less experience with but I think would also be a good choice. I would recommend trying Amber, Tzigane, and Perpetual Cadenza first and Obligato and Infeld Red if budget allows (I think the first three, which are more recent strings are likely superior).
  4. Piotr Pielaszek, who has been doing well in the violin making competitions this year, discusses tool marks in this video. He mentions that as varnish wears he expects them to become more noticeable. https://youtu.be/LeSF00969ro?t=1m44s
  5. Why not today? I think the back of th scroll is the easiest place to find tool marks, here is the back of my H. Derazey scroll showing some:
  6. Yes, the obvious answer would be the Eudoxa A string, which is a lovely sounding string but unfortunately isn't that stable tuning-wise. The Passione A is a very good bang-for the buck (tension wise) string but I feel that it will likely drown out the Eudoxa Stiff D. I've tried most strings on my violin, including many gauges of gut strings, and in terms of sound and playing qualities my favourite was a set of Eudoxa (non-stiff) in light gauge with an Oliv e. Unfortunately in terms of tuning stability and matching bowing technique professional work is rather difficult, so I am currently using the new Perpetual Cadenza strings, which are interesting because they are less focused (one could say complex or richer) than most synthetic strings. I would suggest you try the the Perpetual Cadenza A, if you can manage to order it separately. Another option would be the Warchal Amber A, which also has a more fuzzy/rich texture. As you said, in the end trying strings is really the only way. Words are too fuzzy. And you need to be secure about setup too - your string choice needs to agree with your instrument's setup.
  7. I am not the expert you want, but I do know that my H Derazey has a one piece top as well as back! I heard that was a feature of his, although alone it cannot of course be enough to identify with certainty.
  8. Here are photos of my real H Derazey for comparison. Sorry about your purchase. I also live in east Asia, and purchasing violins here, especially your area, can truly be the Wild West, as Martin states. Did you buy from a shop or an individual?
  9. Philip, I don't see prices collapsing in the long term except for student-level (IE mass produced Chinese) violins. Prices for well regarded makers of the past half century certainly haven't crashed. Keep in mind that the majority of people in the world live outside of the States and Europe, and are a lot poorer. Especially in Asia (where I live and am familiar with), music is seen as an important part of one's education for those who can afford it. As these educated people grow older, they might invest in an expensive instrument, even if not professional. I see this happening a lot over here. There are still a lot of poor people in China, not to mention other countries like Thailand, Vietnam, and Malaysia that are getting richer. I think demand for expensive quality instruments will only get stronger. Even "the usual" mass produced instruments from 100 years ago fetch a premium here...
  10. Guys, I really don't see how you all see this as some kind of pro-China conspiracy. The video uses words like "churned" to describe Chinese-made violins while highlighting the craftmanship and "authenticity" of Italian-made instruments. This is not good propaganda. In fact, the Mainland would probably view this as anti-China.
  11. The title is clickbait, but unfortunately/fortunately that's at least an international problem. I totally understand too. That kind of behaviour is totally unacceptable and you shouldn't have to go through all that pain. If it makes you feel better, here in Hong Kong I have never seen a Musilia but I've seen plenty of Musafias. People here love Italian violins and cases...
  12. Dmitri, I hate to keep beating you up (I love your cases). But the video is almost surely purchased from AFP (a French media organization...). Newspapers purchase content from the big Western press organizations all the time, including the SCMP. Here is a Spanish version using the same footage. https://es.euronews.com/2020/06/19/cremona-cuna-mundial-de-lutieres I'm not condoning the report itself. It's stupid. But there is no grand Chinese conspiracy here - maybe somewhere else You make think I am sensitive, but I think, especially during these times, distilling the truth is ever more important.
  13. As a westerner living in Hong Kong for many years, I know that. It is a newspaper trying to do its best. It is not copy and pasting from official propaganda. Yet. In fact, where is it copy and pasting from? The AFP. The video is surely a crib on this report, which came out the same time. Edit: crib is too harsh a word, it's purchased media from AFP. https://news.yahoo.com/violin-makers-tune-tradition-stradivarius-italys-cremona-042601151.html Saying this comes from "The Chinese Government" is false. Full stop.
  14. Dmitri, the SCMP is not a Chinese government newspaper. It is a private newspaper in Hong Kong with a long history as Hong Kong's flagship English newspaper. That doesn't excuse the quality of the reporting, of course. The reporting rather hilariously misses the point. I'd also note that Mr. Conia is one of the most popular and well known Cremona-based makers sold in Hong Kong (which is a city crazy about Italian violins).
  15. Thanks for your responses. The consensus seems to be, as I had imagined, that the process is a complete disaster. After sending an email to the French certifier I got the impression that they did not want to get involved with customs whatsoever. In my friend's case, paying the estimated import VAT for an antique is not much different from the fees associated with getting an ATA carnet, and also doesn't need the cooperation of the receiver, so he'll just save time and pay tax to France.
  16. Perhaps I should have been more clear. I've already read as much as I could on the official websites. The link you sent only discusses ATA carnets, which are not really what I'd want, as it would cost as much as the bow certificate. What you would need to do is to apply for "temporary admission." Does anyone here have personal experience, and more to the point, know anyone (like a bow technician or dealer) in the UK that can assist with the shipping after getting repaired? The temporary admission process seems to be geared for companies importing goods, but obviously my friend is acting as a private individual.
  17. Hello, asking this on behalf of a friend- How easy now is it to import a instrument/bow into the EU from the UK for certification? In this specific circumstance, a violin bow, would be sent from the UK to Paris and upon certification shipped out of the EU (not to the UK, either). Just looking online it seems that temporary import should be possible, but how does it work in practice? Appreciate your responses.
  18. There is a commonly accepted - but still controversial - idea amongst woodwind and brass players that their instruments "blow out" over time and that even a full restoration won't get the same sound as a new instrument would. Some people swear that it is just a matter of needing restoration, while others claim that the moisture in the air from the player's lungs permanently changes and damages the instrument. This idea, coupled with the fact that there are some very real practical differences in the design of older instruments and the affordable cost of new instruments seem to dampen demand for old instruments amongst professionals. I'd be curious if anyone here with better knowledge can expand on the topic.
  19. The bows are silver, authentic looking and definitely worth something assuming there are no hidden cracks in the sticks. They are very very dirty, however. Assuming this is a Markneukirchen violin (Jacob Saunders would know) they are worth more than the violin.
  20. I believe (based off of photos posted in another thread) that the OP is in Korea. Unfortunately things are like this in Asia. Unscrupulous sellers are more than happy to jack up the price of a low-quality old instrument because everyone wants to buy an "antique" and they don't know any better. The OP is already doing better than normal by asking for second opinions To the original poster: The photos are not great, but both instruments appear to be older student-quality instruments, the first one (even to my untrained eyes) looks to be a Markneukirchen instrument because of the rib joints lined up with the ends of the corners. Second one could be too, although the photos are not clear. These types of instruments would have filled a place in the market similar to cheap Chinese instruments today: made in huge quantities at different qualities. While some can be pretty well made none have "antique value" as they are mass produced instruments. Why do you want a new cello? Are you an amateur playing for your own enjoyment? (I am making a guess, feel free to correct me). Unfortunately, sound and playing qualities do not factor in to the value of instruments at all. The factors that do matter (where and when they are from and a maker, which I'm sure can not be attributed to these instruments) unfortunately mean that these types of instruments should not have much (if any) value above a new Chinese instrument of reasonable quality. If you just want something that sounds nice, I would suggest you look at Chinese cellos. They can sound good at the higher range and the price should be more inline with their value. I also live in East Asia, and while antiques in your price range are a disaster, one can get very nice Chinese instruments here, often much cheaper than in the West. Or, if having something old is important, increase your budget and go to the most reputable shop in Seoul and get a certified instrument by a known maker. You will more easily be able to check prices online with known makers and you won't get ripped off as much as when you buy cheap antique Markneukirchen instruments.
  21. It's overall in very nice condition, which is part of why I dont want to muck around with the neck and saddle if possible. I understand about the bridge of course, the problem is that where I live there is a severe shortage of qualified luthiers so it will mean giving up my violin for weeks if I want to try a lower bridge, then making a new bridge (my orchestra is lucky to be working as this part of the world has the pandemic under control, and I use it for work). I was fearing Jacob's answer but I'm sure he is right. Here's a more straightforward question:,how does a shorter bridge differ in acoustics and playing to a higher bridge?(with identical string break angles - imagine the setup is adjusted to compensate)
  22. Hello, quick player's question here. How would have violin setup have changed from the 19th century to current day? As a player and not a luthier, I've been paying attention to the obvious external factors (neck setting, saddle, bridge height). My mid 19th century French violin supposedly has a more or lesson original setup (feel free to disagree, I know that neck angle has likely shifted over time - does this decrease overstand?). I can't vouch for extreme accuracy in my measurements but I measure the neck overstand at about 4.5mm and the saddle height at about 5mm. Currently the bridge is 33mm at the highest point although when first setup it was 1-2mm higher (which did not work well, very wolfy and hard to control, although extremely strong). The overstand and saddle both seem a bit lower than "standard" but not impossibly so. Would these be typical for the original setup 19th century instruments, as far as we can tell? Looking at Tarisio photos of famous instruments with modern setups both neck overstand and saddle height seem noticeably chunkier than my fiddle. This violin benefits from lower than normal tension strings (basically it is hard to play with any set higher tension than Dominant, and works absolutely fine with a set of lowest tension Eudoxa non-stiff, which act just a bit too bright!). I've read that the strings used in the 19th century would have been quite thick, and not lower tension than modern synthetic sets. Any thoughts? I'm loath to rip out the neck and saddle if they are untouched, so perhaps I could try lowering the bridge height again. My luthier mentioned it as an option but also noted that it was non-reversible. And he is also very very busy.
  23. The script is Hangul, the Korean alphabet. Not Chinese symbols. Doesn't change anything about the cellos of course. Original poster - please don't waste any money on cellos from private individuals. You don't know what you are doing, and in the desire to get a "deal" you will waste 100% of your money (well, maybe 95% of it). If you are located in Korea, best to go to the biggest most well known shops in the 2 biggest cities and get something in your budget. You will have a much lower chance of being scammed. I live in East Asia too and it's the Wild West over here. I met a young adult who had earlier purchased a JTL bow (one of those stamped Buthold) from an individual (let's just say a collector ) for over 10,000 Eur and was told it was from the "Lamy workshop." They didn't know any better.
  24. It's an Honoré Derazey! It's a beautiful violin that didn't come cheap, but overall it seemed like an exceptional example and it also has an extremely robust but nice sound. The violin supposedly has hever had the top taken off and has no repaired cracks, although it does have some wear from playing. I've been curious about the "moustache" for a while, since I haven't seen any Derazey with such an extreme amount of splotching. The violin does seem to have been shined up before I purchased it - does the consensus seem to be that it's been retouched? It would be a pity, as otherwise it's in quite good condition. Since you all like it I'll add a few more photos!
  25. Hello all, I've been curious about something on my H. Derazey violin. Besides the usual scroll chamfer blackening, the rib corners and f holes are blackened. There also appears to be some blacking around the edges of the ribs where it meets the plates. Hopefully it's not just dirt collecting! I've never seen it so pronounced and even before, if deliberate, is this a French thing or would earlier Italian violins have this as well? There's also a rather large amount of splotchy black antiquing in front of the bridge. Is this done using some kind of paint?
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