Guido

Members
  • Content Count

    378
  • Joined

  • Last visited

1 Follower

About Guido

  • Rank
    Senior Member

Profile Information

  • Location
    s vary

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Guido

    Help with violin identification: Paul Bailly?

    I can't tell but some people on this forum are quite knowledgeable with French violins, even though it might be difficult from photos in some cases. Given that a genuine Paul Bailly is worth some serious money, you may want to find a luthier with recognised expertise in French violins. Paris is always worth a visit :-)
  2. Guido

    "Nicolaus Amatus" violin identification

    I find this violin somewhat confusing. Elements of it remind me of extremely well antiqued modern instruments. I don't think that's the case though. Very nice violin.
  3. Guido

    Fixing center seam

    Related question. Re cleat material: maple on maple or spruce for everything?
  4. Guido

    Oh dear...

    Oh dear...
  5. Find another one. Old violins, which have fallen into disrepair are everywhere. For most of them repair cost at a professional luthier will be $1,000 or more. Usually not worth it. So they will be offered 'as is' for $100 in the local classifieds or ebay. Or you find them at flea markets and antique shops. Get one of these and make it a project. Avoid varnish issues and previous unqualified repairs. If in doubt, move one. The next one will be better.
  6. Guido

    Top Block Question

    Could have been a forged nail. The profile is slightly squarish with rounded edges both for the head and the hole.
  7. From what I gather auctions used to be a 'wholesale' market where dealers and shops got part of their stock. The general rule of thumb was that retail prices would be about double the auction prices. Over the last couple of decades the online auctions have really started to appeal to what would formerly have been retail clients. Obviously, this strategy promised higher prices and premiums for the auction houses and still lower prices for the customers. Cut out the middle man. These days you would have a $12,000 violin in the shop and a customer tell you that it's overpriced because he has seen one of these at auction for $8,000, or worse still, seen the actual violin at auction for $8,000, completely ignoring the premium, shipping, import duties and possibly repairs/ set-up work before the instrument was offered in the shop. Looks like Amber Violins want to appeal to dealers and shops by removing any trace of the instruments from the internet immediately after the auction to avoid the above scenario. Now the information asymmetry bites the other way as many customers don't understand the value that a shop adds.
  8. They were a fraudulent invention by a colourful character named J.B. Vuillaume. He made one; and then proclaimed to have found the oldest violin in the world by legendary Kaspar Tieffenbrucker (or Gasparo Duiffopruggar). Of course Vuillaume wouldn't sell his treasured original, but he would make copies for everyone. Then he hired Derazey to help making the copies. The model later went through the Mirecourt machine of mass production and most of them have nothing to do with either Vuillaume or Derazey. Tieffenbrucker was a lute maker around the mid-1500s and may or may not have made violins. If he did, then it appears that none have survived.
  9. Guido

    baroque rosin

    Apparently Heifetz used homeopathic doses of Hill light with his gut strings. That's essentially were I ended up :-) Of course its complex. Bow pressure, speed, traction, all play together. But me thinks generally lower bow pressure and higher speed would work better with less traction (a smooth rosin). Where are all the baroque players? What do you use?
  10. Guido

    baroque rosin

    Just having some conversation with myself. Found some interesting description from Leatherwood about their special baroque rosin: "Specially formulated for gut strings, the gentle but clean attack and smoother traction allows the string to resonate freely with maximum clarity. Baroque rosin makes a bright, clear sound with a feeling that the bow is quicker on the string and makes it easier to play fast with more clarity. The smoother traction allows the string to be played with more intensity without distortion and also reduce the ‘squeak’ often encountered with using modern rosins on gut." Sounds like Leatherwood is in my camp. What's was Melos thinking???
  11. Guido

    baroque rosin

    Hi. I enjoy playing a violin with baroque set-up every now and then. I use a very light (hard, non-sticky, 20 years old, dried up) rosin and it's just perfect (for me, for the purpose). Too much rosin or too sticky of a rosin and it goes squeaky. Seems to be in line with significantly less hair on the bow compared to modern. Too much or too sticky of a rosin is like too much hair. Then I have bought a special baroque rosin from Melos to try. It was sticky and didn't work for me. I asked Melos about the characteristics of their baroque rosin and they said they made it stickier than any other violin rosin. My experience is only one data point and I would think Melos would have done some research and have good reasons to have gone super sticky. What's your experience/ preference for rosin when you play a baroque violin?
  12. Guido

    Tarisio auction

    This seller from Hannover, under his numerous eBay names, always has a Poggi or two on offer. Usually (at least previously) he also ties to be educational and gives a maker's bio with his offers.
  13. Guido

    Vogler with 'archaic' scroll.

    If you really have to know you can have a dendrochronology analysis done. It comes at a price that you may not want to invest into the violin but then you would have a reliable assessment of the age and possibly the origin. You can get some info on the subject here (and also a reputable provider of the service): http://violin-dendrochronology.com/
  14. Guido

    Could someone Translate this for me? German

    I think the label is clear that work was done in Moeckel's workshop (that could of course be by him or someone else). It also seems clear that the plate thicknesses have been worked in accordance with (Moeckel's) proprietary system (which could be interpreted as a re-graduation, or as Jacob has pointed out, as the initial making of the plates). However, if the plate graduations refer to the original making of the plates (and probably the instrument), it would seem odd to use this label rather than his usual maker label (and brand mark). I would quite strongly assume it was a case of a re-graduation.
  15. Guido

    Arching Templates

    I have been trying my hand at a Del Gesu Keisler inspired violin. The Strad poster was wrong is many essential aspects but you could get the idea. I also ordered the Herdim templates as another source and found that they had absolutely nothing to do with the instrument. It was just plain ridiculous.