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  1. Thank you for moving the thread to the appropriate forum! I can't read any "brand" or stamp from any of the pictures but the posting says that it is branded Caressa & Français and Jules Fetique a Paris . I don't know what this means. As mentioned by Mr. Dorsey, the low starting bid got me curious as to whether this bow is genuine or not.
  2. Agreed. However, I am not a professional violinist nor do I have the monetary resources to purchase a $4k to $8k bow. I already have a good bow, but I play ALOT and feel like I'm really putting alot of miles on my only wood bow.
  3. https://app.amati.com/en/auction/1094-four-decades-of-instrument-collecting-part-1/18-a-gold-mounted-violin-bow-branded-caressa-francais I don't know anything more than what the interwebs tell me. Just want a cheap back up bow but don't want to buy a lemon.
  4. Anyone having issues with inventory, shipping delays, etc.? Shop owners and consumers alike. I ordered a Gewa violin case about a month ago. The online store said they had 3 in stock. I found out a week later that they have NONE in stock. Gewa USA tells me that they are "expecting" cases from Germany by end of this month. The shop I ordered from says they will "preorder" from Gewa USA and let me know. In the meantime, I am getting zero updates while paying interest on my credit card for an item that I do not have in hand. Ugh. I don't want to keep pestering Gewa OR the third-party shop because I don't want them to just say "screw it" and cancel my order. But---I have no case and its been three weeks since last update.
  5. Hands down a good wooden bow will produce the best tone. Its wood. I love carbon fiber bows for students because they are cheap and I have not found one that a student could not spiccato or whatever technique I was teaching. Going from a CF bow to a wood bow, and vice a versa, does not require any more technique adjustments than going from one wooden bow to another. The technique fundamentals remain the same.
  6. Really? Carmen Fantasy in Suzuki Violin Book 6? Things have changed since I played these years ago. I only remember a couple of Sonatas, Allegro by Fiocco, and La Folia Variations by Corelli. Now I am interested in buying the updated Book 6!
  7. I'm a big Heifetz fan. Just heard the news that Nippon Foundation is loaning Ray Chen the Heifetz-Strad ("Dolphin") and I am so excited! I have only seen black and whites of Heifetz playing this Strad and never bothered to search for pictures of it until this morning. Wow! What a beautiful looking, and obviously beautiful sounding violin! Can't wait to see how Chen sounds on it! Just thought I'd share.
  8. my child is going on an orchestra trip and has been told that she can carry-on her violin. I think I should mention that the school booked the entire plane. There is your work-around to the TSA rules.
  9. One reason that I mentioned Bazin was because years ago I played with a Bazin as a loaner for three months. Ironically enough, it was because my good bow was dropped on its head and it broke. Now, I personally didn't notice, nor do I now, the difference in playability between pre-break and post-repair, but what I DO remember is that I LOVED the Bazin. It was the best bow that I had personally tried. So, its not so much about brand names or such. Now that Bazin could have been an outlier, but given the reputation of the Bazin name, I figured (rightly or wrongly) that a Bazin, or other notable bow maker's bow, would be nice to own for my personally use. I don't care about resale.
  10. Dear @GoPracticethanks for your input. Although my questions were relatively straight forward, you gave an intense and thorough response. I only care about bow head breaks. I do not own such a bow, but I have seen quite a few and want a great bow for cheap. As to "we all do," NO. That is not true. This is precisely why I specified that I want a bow to play and to keep. I knew for a high degree of certainty that there would be responses relating to collectors. Ultimately, your last paragraph gave me the most direct response and food for thought. Thank you!
  11. Let me rephrase the issue(s) more carefully. I want to buy a great bow for a fraction of the price to keep, play, and to hold onto until I die. Does a previously broken bow head that was expertly repaired play any different? I am looking for tone production, buoyancy, camber, balance, etc. I know these things are subjective to an extent. I don't repair bows. I only play. Therefore, I do not know the physics related to the before and after aspect of repairs.
  12. If a good bow had its head broken and the repair was performed well, despite the value going down, does the break/repair make a big difference in how it plays? In other words, if I do not plan on selling the bow, and can get a Bazin or Nurnberger, etc. for $500, is it worth it in terms of having a quality bow?
  13. That went WAY over my head. Spent 15 minutes googling "skylark."
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