jacklinks

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  1. Definitely agree that the middle one looks the best, but I’m not an expert. You used a good word “Porous” to describe #1. I said dry meaning it’s like the wood has contracted/tightened and the grain opened up some. I’m not sure if that is the quantity of the wood or if any finish has sort of melted off, exposed it, and caused the porousness. If you buy a Lot of ten and get one good player out of the bunch, it still may be a good deal.
  2. I won’t question the use of the word Pristine since I have not seen them in person. But why do some have the hair cut out and the winding unraveled on some? Bow bugs and corrosion, respectively? As for your photo, the top one looks like wood I have seen that is really dried out and “flakey” over time (or looks dried out). Can that happen if they were not stored in a humidity controlled environment? Just because they put those in the same lot does not mean the were stored in the same place for 30 years. Just guessing though.
  3. I’m not really asking about affordability. The question is more of are there any higher priced strings that are generally better sounding and playing strings that end up being less expensive than middle tier strings because the middle priced strings may not sound as good for as long. Or do all strings drop off significantly after basically the same number of hours of play? But I realize it is a difficult question to answer because certain strings match up better than others on certain violins, regardless of the string price.
  4. Hopefully this question is ok in the Pegbox section. It is hardware related but not the instrument itself. Assuming you like the sound of each on your instrument, are you better off buying more expensive strings like say Peter Infeld that supposedly last longer than you are buying say Evah Greens which are also good but some say don’t last as long. Are there more expensive brands that may give you twice the life of less expensive brands and sound better the entire time? If so, what are some examples of brands where it may be more economical (i.e. a $100 set that lasts say 250 hours vs a $70 set that only lasts say 125 hours). Maybe it’s not reasonable for any set to last 250 hours. I don’t know.
  5. True, but if it is a “regular” Markie that is the object of many criticisms on this forum, does the loss of the (low) value matter anyway. For instance, does it really matter if someone revarnishes a Stainer copy that was sold by the truckload in a Sears catalog (even though trucks may now have existed then...)?
  6. What is the main issue with revarnishing? That it hurts the value significantly? That it hurts the tone? If it’s the former and it is a cheap instrument in bad shape, then it seems that there is nothing to lose.
  7. But one also needs to factor in at least 20% selling commission when estimating whether you’ll get your money back. Violins seem very difficult to resell, so you are likely ton incur a selling commission. Some will argue that many shops give you a 100% trade in allowance. While that may be true, that just means the next violin you are getting from them has that priced in.
  8. This ⤴️ !! Seems that you are much better off (both from a playability perspective and financial) if you can find good deals on $10k to $20k+ instruments (or higher if you are good enough to need one and have the means for the initial investment). Obviously resale value is never guaranteed. But it seems better if you can find and pay for say a $10,000 violin that you can reasonably be able to expect to resell for $10,000 (if you choose to sell it) than you are to buy a $3,000 violin that you may be lucky to get $1,000 for in a resale. In that scenario, you would have played the nicer violin for free vs. paying $2,000 (net) for probably what is a run of the mill violin. Of course it could go either way. You could pay too much for s $10k violin and get a good deal on a $3k violin.
  9. I wondered about that too. And also how T2 is going to list them. I’m guessing the lots may be of X number of bows and not singles. But that’s just a guess. The email says they are all new and unused, so the back story would be interesting. Also, if they are new, why are they putting them on T2 which I thought was designated for items that are not necessarily in as good a state of repair as those in the main auction.
  10. That is correct. It is completely hypothetical. I will never touch (or re-touch) that violin because I don’t own it. I’m just curious as to the effort it would take to re-touch one in that condition so that is why it is a random violin and also why I used just the top as an example.
  11. Wasn’t there a picture bow of Vuillaume in the last Tarisio New York auction? I don’t remember if it sold or what it sold for.
  12. What exactly does French polishing do? Does it slightly dissolve the existing varnish and then spread it over all parts of the violin (including the areas that need “touch-up”). If that is what it is, then that seems a lot easier that the painstaking work of touching up each bare spot. But with the cheaper violins, maybe the existing varnish is not such that it can be dissolved/reallocated in that way.
  13. Below is a random photo of an inexpensive violin from an eBay listing. I am NOT interested in this violin, nor do I care about its value compared to the cost of touch-up. I’m just using it as an example. What would be the ballpark cost to properly touch up just the top of a good violin in this condition? Just curious in case I later come across better violins in similar (cosmetic) condition where I would need to factor in the touch-up cost (and this one may be beyond the definition of “touch-up; I’m not sure).
  14. Agreed. The question is in general terms how prevalent it is in the US and Italy (if at all) and if it is, which makers are bench made. Nothing wrong with finishing a violin in the white. It’s been done for many, many years in Germany etc.. To me it is more of knowing ones that are bench made so you know which ones command a higher price for the experience and expertise of the maker.
  15. I’ve seen threads from time to time that discuss whether some US and Italian makers buy Chinese Violins in the white and finish them off and sell them as their own. “Finishing” them could include a lot of things or very little. Anyway, what percentage of US makers and what percentage of Italian makers do that (ie where is the practice more prevalent)? Or is it really not that prevalent? Broad question, I know. Said another way, who are some US and Italian makers that you can know with absolute certainty that everything was made by their hand?