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Everything posted by violinnewb

  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."
  14. My apologies. I will leave out the unnecessary expression of unimpressedness (ie: "meh.") I still stand behind the rest of my response. Most of you guys are masters in your field. While I am not, I do not necessarily think a blanket assertion that a violin is "not a copy of anything" without more information is really responsive to the OP's question. While my answer was somewhat contrite, it affirmatively answered whether the OP's violin was original or a copy. Amati was Italian. The label says "Made in Germany." If one were to assert it was not a "copy of anything" one could assert a little more information as to why. In this case, the response did not. Then, a follow up response from a different member attempted to generalize the German trade industry. Still, it does not really provide how anyone knows whether the violin was a copy, poor copy or even a truly absurd attempt at copying. As to your response, you asserted observations on features. That is helpful and more conducive to the thread. Your response, Mr. Swan, is an elevated response. I meant no offense and apologize for any offense taken. Thank you.
  15. Meh. I don't deal with absolutes or binary assumptions. Even if it was common practice to slap on a label purporting a copy, unless you know of a more trustworthy source, a generalization does not make a statement necessarily true.
  16. Umm...Is Galamian still teaching in the afterlife? Are you posting from the afterlife?
  17. How do you know its not just a very poor copy? My 9 year old tries to "copy" works of art all the time, they end up looking rather horrible and no resemblance to the originals, are these not "copies?" Just asking.
  18. LOL I know. I was just bumping the thread. Pertaining to the maker, I cannot find too much on the luthier or the workshop other than the fact that he worked with/under Humberte Lambert. I was hoping for some opinions whether the violin was indeed french or "other." That is the main reason I did not post pics of the label. I know that Labels mean very little.
  19. I was asked to post pictures when I got the attic finds but no one commented afterwards...
  20. UPDATE! I am back from two weeks in Alaska and Seattle! Here are pictures of my restored 1910 M. Couturieux violin. I didn't take pictures of the label because I know how fond you guys are of labels. Please forgive me if the pictures are inadequate. After having a couple of seams repaired, sound post adjusted, new bridge cut, minor neck work, cleaning, polishing, and new fittings and strings, this thing sounds pretty darn good for an attic find! Comments are welcome!
  21. A violin is a very personal item. Is your sister planning to play in the college orchestra or taking music classes (ie: major or minor, etc.)? Unfortunately, my personal advice is that you don't buy your sister a violin without her playing on one (or preferably several) and she chooses the violin.
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