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About notsodeepblue

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  1. This is such a helpful description - thanks for taking the time to post this.
  2. Sounds like it to me, too. Before you give up on Maestronet (which would be a shame), it might be worth taking a quick look at something seemingly unrelated to see if it gives you a more palatable experience: The Maestronet website seems to delegate the business of advertising (other than the dealers, on the front page) entirely to Google, hence it was Google that offered you the chance to remove the advert you saw. When you load the page, it will be using its highly sophisticated "ad personalization" services to sell/place the adverts you see - this will also be true for countless other websites as well. If you are viewing Maestronet while logged-in to a google acount (gmail, etc.), then the personalization settings associated with that account will potentially be used to select the adverts you see - given that you are the "Maestronet knife guy", I can imagine there might be keywords in your email/web history that will match the audience targeted with Mr. Lapierre's surveys... If so, your web browsing experience might improve if you manually change your ad-personalzation settings - this process is described here: Alternatively, you might like to try browsing to Maestronet using a "private" or "incognito" mode in your web-browser - this should have a similar effect, without changing anything in any google account you may have. And finally, should you wish to pry the advertising dollar from Google's cold, digital hands entirely, there are browser extensions that remove all adverts of this kind for most modern browsers (certainly chromium and firefox, probably edge etc.) - I'm sure lots of Maestronet users will use these and can offer advice as to what works but I can email you a list of the extensions that I use, if it is helpful. Good luck,
  3. Thanks very much - that's extremely helpful. It was mainly the small, equilateral corner-blocks that made me think this might not be the case, but that probably only goes to show how dangerous a little knowledge can be... thanks again,
  4. ...I know exactly what you mean! But in-the-hand, it feels like there has been an awful lot of unplanned movement over the years, so I'm not feeling totally confident about how mine will fare just yet...
  5. Hello all, I wondered if there was enough left in the wreckage pictured below, for anyone to help me identify how this might have been made? To my eye, it's key identification features - listed below - seem to be a little contradictory: - scroll carved to approx 8-o-clock, maybe a little later. - no delta on back of scroll. - small, equilateral corner blocks with no evidence of linings being let-in, but very difficult to tell what's original ...if anything. - one-piece bottom rib. - rather wonky outline / very off-vertical rib joints. - ribs join approx. in the middle, but difficult to tell. - no evidence of ribs the being installed in a channel on the back. - evidence of one pin the lower back (difficult to see through the grime anywhere else). I had imagined that this taken all together (by a process of elimination, more than anything else) might point towards a construction method that did not rely on a form of any kind - does this seem plausible, or am I miss-reading the features in some way? thanks in advance,
  6. ...probably depends on whether it's applied to the violin, or violinist.
  7. Fantastic pictures - thanks for posting. ...I'm now curious about the dorsal pins, though; from the sounds of it, there may be no widely accepted theory as to their original function. Was this part of the method adopted by the generations of makers apprenticed to those who originally used them, or did it die out / get lost along the way?
  8. That's extremely interesting - thanks very much. And can I just say, it never ceases to amaze me how you are able to read and understand a bow from so little information ...deeply impressive.
  9. I wondered if anyone might be able to tell me when open-trench frogs stopped finding their way onto bottom of the heap, mass-produced bows? I ask as I assume the bow pictured below fits this description, and it looks to be well matched to the fibre-board case and (simply) inlayed tailpiece it came with, which I had assumed were from the first couple of decades of the 20th century. I had thought this would be later than the typical date range for such open-trench frogs, but perhaps this is incorrect? thanks in advance,
  10. Have you seen this thread, already? If not, it has some interesting discussion that might be interesting to you even if it doesn't get you too much closer to a definitive answer...
  11. If out-and-out strength of this particular joint is critical (my take from a number of responses in this and similar threads, not something anyone has explicitly written, as far as i have seen), is there a reason why the through-neck - or some flavour of the same - is not favoured, for new-builds if not sensitive restorations? Is it the added mass of a maple upper-block that rules this out, or are there other considerations as well?
  12. Weren't some of Dodd's bows suspected to be made from wood from barrels (which I am assuming were a precursor - of sorts - to pallets)? I wonder if there were any equally-colourful violin makers mooching around the docks at the same sort of time, amongst similarly rich pickings?
  13. Not wishing to judge, but it seems like an odd thing to want to do to any bow. Sort of makes me wonder if they have been tempted to brand the sticks "pernambuco" too...
  14. For completeness, this group of marks is - I believe - called the "Full Traditional (UK) Hallmark", in which each individual mark contributes to the overall meaning. The last two, read from left to right, should be assay office and date letter. It is described properly here, in full, if you are interested: