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  1. Germain, how was #127, Nicolas Vuillaume??
  2. late 20th century, Mario sold a lot of copies of his padre and other italian makers with his certificate. This one is perhaps a similar example. https://tarisio.com/auctions/auction/lot/?csid=2198994944&cpid=3603873792&filter_key=
  3. In the past auctions, gadda did not interest collectors and its price was moderate IMO. However, the estimates of his fake violins suddenly go up recently while his workshop violins are still in low price range. Is something happened??
  4. Lot#53 Maire bow is also my interest. Thanks, germain.
  5. Dario Verne (Lot #104) Could you share your opinion about cheap lots less than $20000?
  6. Thank you for very informative comments. Yes, David. It might not be a big problem. This could come from the tonal difference compared to the violin I previously used. Danube, The violin was unplayable condition when I got it. Sadly, I cannot compare. I was wondering the SP reinforcement with glue is common. If it is not, I would think the noise was due to this. David Burgess, do you mean that the glue sizing near SP area is frequently used by some makers? I thought, if the SP fitted properly, glue sizing might not affect the sound much. Yes, Michael. A lot of repairing works were done recently including new bass bar, bridge, minor crack joining, etc. Perhaps the new setting has not been adapted yet, I would better play more or ask someone else who knows violin sound very well. Yes, you got the point. I am an amateur player... I will ask post adjustment to my luthier. Is there a possibility that this may be a tailpiece problem(material or gut length)? I am using middle quality ebony one (Guardelli).
  7. Hello, MNet users. I recently have a restored violin which is late 19th C french. Since the soundpost area of this violin had a slightly dented, and luthier told me that he recovered it by applying hot steam. And he mentioned this area is weakend and it needs reinforcement. So he impregnated with glue. (I don't know details) The problem is the violin easily makes scratchy noise when I play close to the bridge. I am not sure it is just a characteristic of this violin or due to the reinforcement of SP contact point with glue. It would be appreciated if you give some tips to eliminate these annoying noises. Have a good day. Jaster
  8. The report just mentioned "minor crack adjacent to saddle", but isn't it bass bar crack?? I am curious whether "bass bar crack" only means a crack propagated right on the bass bar or it includes a crack which is few millimetre away from the bass bar.(2~3 mm)
  9. From the perspective of engineer, the stress concentration would occur where the flat plane and arched plate meet, (due to the sharp angle) which means this violin would not be structually stable ;{ That is probably why the condition report says it has a bass bar crack near saddle.
  10. Hello, MNet users. I was watching Tarisio T2, and found a tempting violin. (#271) From my inexpert eyes, the back plate of this violin seems Italian. But the scroll is closer to French side. So I need some help to figure out its origin. Any opinions and advices are really appreciated
  11. Thank you for your kind explanation. The plate thickness is a way more complex issue than I think how much it is. Your comment is very informative and enough to solve my curiosity. If people say the violin is thin, do they talk about the average thickness or specific point such as SP and table?? But I still cannot understand the death of violins which are made not properly.
  12. So some fine fiddles can show good sounds even though they have thin plate:) In that case, the maintenance can be another problem... crack resistivity
  13. Thank you for the reply, Manfio. Do you have a specific minimum thickness that should be avoid for top or back?
  14. Hello, MN users. I have always curious about how important the plate thickness of a violin. Many of dealers and collectors seem to measure the thickness of both top and back. Some of contemporary violins with very thin plate has beautiful sound at the beginning buy it goes bad. Or some of mass produced workshop violins are regraduated to make the sound better temporarily by unprofessional dealers. These are what I have heard before. Are there any good violins of which plates are originally thin? Most of thin violins has a bad projection and weak sound in general?? I was told that a thin top plate is more critical than a thin back. Is it because the back does not affect the sound much? Many people say the top thickness not back. Any opinion and advice are very appreciated. Have a good day:)
  15. Hello, I have seen several violins by N. Audinot these days. Although all of them showed fantastic workmanship and sound, they had different model numbered from No. 2XX to 6XX. I have heard some makers numberred differently to classify base model such as GDG, Strad, or Amati. And some used it to grade it (lower numbers for workshop model, higher numbers for personally made one) Please help me to understand if anyone knows the meaning of model number of Nestor Audinot?? Thanks.
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