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dhat1

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  1. I suppose I thought this could happen depending on which clamps you put on first - e.g. if you put on the end clamps on fist and then in the middle perhaps it introduce tension? The plate of this violin does not lie 100% flat for example - it is slightly concave. But if you put it like it does seem silly. I am amazed at how many assumptions I had so far that had to be revised in making a violin, and I am not yet finished with the garland!
  2. Thanks - this must the be issue. I did not check the neck angle when gluing it back on - assumed it would not be affected. I worked around the bass bar so this is not the cause. If the neck angle is increased I suppose it must mean that the top plate is under more compression lengthwise than before or being stretched less? Should I then clamp the plate back on with this in mind?
  3. I'm not sure if I even know what the question should be exactly - I'm describing the issues as I go and invite advice as I go along. This helps to formulate more exact questions as below. It is a new violin which I bought cheaply (120 EUR) to see if I can re-graduate and how the sound would change - perhaps improve - but the main goal really is learning about violin repairs etc. To scared to do anything to my main instruments. I am also in the process of building a new violin but that is a different story. I glued the top plate back on after taking it off and re-graduating it, and now the fingerboard is a lot closer to the strings. They just touch the fingerboard. If I put the violin on the table and press on the top edge on either side of the neck with a bit of pressure towards the table the strings sit correctly in relation to the fingerboard. Something has changed but not by a lot. The only thing I did was to thin both the top and back plates. I was just wondering if the thinner plates could bend more due to string pressure and therefore the fingerboard is higher relative to the belly height? Does the way in which one glue the top plate back on affect the neck angle? If so how? It did not occur to me that the neck angle could be influenced. I simply glued it back on with hide glue using spool claims all around the edges. I did start the clamping process by first clamping down on the top and bottom blocks (with c-clamps) and then the c-bouts. Then all around the edges. The original deck was very thick and heavy before thinning the plates and had a poor bass response. I think it weighed 95g. They still weight more than guidelines I could find after re-graduation. Perhaps it is too thin now - I would not know.
  4. An update to this project: I thinned the plates quite a lot to the pattern below (26 means 2.6mm). Ordered clamps which took a while, and put the violin together this weekend. Now a new problem has emerged. The E and A strings are touching the fingerboard and G and D is about 1mm from it! I could not figure this one out but I think what happened is that the thinner deck must be compressed more by the string pressure. I should therefore make a new and higher bridge. I also think the fingerboard is slightly too thick - should be about 1 mm thinner.
  5. Thanks for the advice. Appreciate it. I'll go through these points again tomorrow. What do you mean by a focussed sound? Bright and open? With a hollow sound I am thinking of this booming quality lacking mid-range. Is clarity and responsiveness the same thing in your view? If not how do they differ? It is has a slight wolf tone somewhere in the region of E to F# high on the C string. Not strong. My butchered version of Czardas sounds nice on it (rather could be made to sound nice eventually) - the wolf tone is at a higher pitch. I'll test it tomorrow some more.
  6. Divide the price of the violin by the number of expected years you'll get out of it and treat it as a cost. Value on sale is a bonus.
  7. I think you guys should read the original post. I'm merely looking for an opinion of unlabelled violins in general, and how much the sound quality should affect the price. The answer I have received here is, basically, "not that much". Thanks to the contributions I am in a better place to consider what to do.
  8. I'll ask for more info - it looks to be in very good condition. The maker is unknown - I know this for sure. I can't see any cracks or anything structurally unsound. Something I should ask about - including what restoration if any was done. Ultimately I buy it for the playing experience, but my tastes may, probably will change over time. If I can sell it again for 10k I would buy no question. If it is really worth 3k... then not so sure. I'm happy to put a 5k wager on this being my long term instrument. I'm reasonably experienced player - not an experienced buyer though. To me the sound of this instrument is exceptional compared to what I have played before - everything just works, intonation, responsiveness, tone is wonderful, sonorous and no wolf tones. I'll play it hard over the next days to see there is an area of weakness - especially the upper registers. I have a lesson on Monday - my teacher is a pro player and see what she thinks. I don't know if sound quality is completely subjective. There are clearly poor and average sounding instruments. At the high end I agree, some people like it more nasal, powerful, bright/dark. But I wonder if exceptionally good sounding instruments simply don't get traded all that often. Average or poor instruments are plentiful on the market. Would this not lead to a markup for this quality more so than indicated in the posts above? I'm talking here about the really exceptional instruments.
  9. Hi everyone, I have an unlabelled viola in my possession for a week to try out before I buy. German instrument from 150 years ago. Very beautiful tone, responsive, full sounding. Pricey (for me) - around 15k. My only concern in buying this is how much I would lose if I later on decide to sell it. Anyone who owned a violin would know they do not always go up in value, in fact the mostly go down, with the difference paying for restoration, new setup, rent, space and effort of the violin shop - I have nothing against this. Plus time to get that buyer to surface. In my experience it is incredibly difficult to find exceptional sounding instruments - at any price. I have recently tried a new handmade viola at the same price - not the same quality. I have had the same experience with violins. I got luck after going through about 40 violins at various shops to find a very nice (also older and unlabelled) violin at just under 3k. It is not perfect (a bit wolfy in the high register on the G string, and the harmonics are difficult to get to ring), but I love the sound quality for baroque and classical pieces. I have to say I tried mostly at the 5k range, plus a few 7k to 8k violins. The few violins priced at 15k to 20k that I tried just to see were worse than this gem - they were labelled from mid-tier European makers. I have only tried one new handmade instrument. Maybe I will find more consistency and quality here. I don't know. What is the upper limit you would pay for an unlabelled instrument? Am I the greater fool here? By the way, I live in Europe, so plenty of violin dealers (players and students) around.
  10. I'm definitely thinning from the inside. It is varnished already and I don't want to try to handle this afterwards. I'll try to do it with the bass bar still intact - if this proves too difficult I'll take it off, but then I will need to find a way of clamping it. I have already taken about 0.5 off the narrow side of the plate (when dividing the plate with the bass bar) right next to the bass bar prior to my measurements. It was signficiantly thicker here than everywhere else. I did this with 100 sandpaper and it did take a lot of time. As a result of this experience I bought a couple of scrapers. Why leave it thicker between the f-holes? Most plates on the internet show a more or less uniform pattern everywhere?
  11. Should I try to scrape it down or would sand paper be better?
  12. Allright, here is my violin top plate measured with a proper caliper. Reminds me of space invaders. It looks fine at most of the edges, but needs a lot of scraping in the middle. My estimation is that scraping down to 2.6m will result in a plate of about 70-75g down from 97g.
  13. I'd love to see the instrument with the happy face.
  14. My other violin weighs 425g (without chinrest) and has a really nice sound. I also have a nice and deep sounding viola that weighs 607g (without chinrest). Is this heavy for a 16.25'' viola? Im getting really curious about where the excess weight is located.
  15. That will be the next step... For a few hours' work I'd like to see how good I can get this cheapie to sound first.
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