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  1. Most violin bows are stamped on the player’s side, but I’ve seen a few stamped on the audience side (even by the same maker who normally stamps on the player side). Is there any reason for stamping on the opposite side than is typically customary? Any historical/traditional reason? Could the maker have just been having a bad day and not paying attention?
  2. jacklinks


    Maybe kind of sort of on topic, but which generally has the better sound/tone: a pre-1900s Collin-Mezzin or a 1920s Roth. For a moment, forget build quality, aesthetics, value, etc. ... Which one is more likely to sound better?
  3. Is it safe to save that any that are stamped “Stainer” are definitely not real? I’ve always thought the stamped ones were the mass produced ones sold by the thousands in catalogs. But I know that there were a lot of mass produced non-stamped ones too. But anyway, does the stamp automatically rule it out?
  4. Sounds like it is less expensive than some of the famous amusement parks, but more fun.
  5. I don’t know the cause. But if the 90 violins in the Nov auction that ended today, 41 were unsold the first day. Then of those 41 unsold lots, only 21 of them sold today in the second listing.
  6. Those on eBay look pretty sporty and the price is right as a second “see if you like it” kind of instrument. What size is most popular for one of their violas?
  7. More like $66k. The commission is real. The Curtin went for the same price.
  8. My guess is rentals and getting contracts with schools and stuff like that. But I’m not in the trade, so I’m just guessing.
  9. jacklinks


    Yeah, that’s kind of what I was thinking. People spend a lot more than that on coffee, movies, etc. .
  10. jacklinks


    Do any of you subscribe to Cozio and if so, have you found it to be worth the $100 annual rate? Even if you are not a dealer and use it just for entertainment value, causal research, curiosity, etc.
  11. What were the two repaired holes on both sides of the C-bouts for (why did someone put holes in them later)?
  12. In your $6-10k range, you may be able to find a previously owned violin from a good contemporary Italian or American maker that was in the $15-17k when originally purchased. They don’t increase in value often (or quickly), so if you are the second or third owner, you could do very well while the previous owner takes the loss. You may not find a good contemporary in that price range in a shop, but the “loss” of the $2.5 trade-in credit could be more than offset by the deal you get on a previously owned contemporary somewhere else. But there is value in a trusted shop, so you are the only one that can decide how much $$ that is worth. Although you probably would have a hard time selling the 3/4 for $2.5k, it still has some value, so even if you get say $1k for it when you sell it, that is a decent percentage of the $6-$10k replacement where you are not limited as to where to buy the replacement. Ditto on the importance of the bow. A good bow will help with quick progression as much as anything.
  13. Here you go: VSA Schedule
  14. i.e. solid workshop instrument, holds it’s value, decent sound, sought after, etc. Obviously there will be quality or tonal differences within the “brand”, but just curious what the Roth equivalent in French would be.
  15. You mentioned the Wave I, but did you try the Wave Da Capo? Since your current rest looks kind of low, the Da Capo might work (although it is a completely different design). At the end of the day, if you find the same shape as yours in wood, it will probably still pool anyway.