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About Flattmountain

  • Birthday 07/11/2003

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  • Location
    Somewhere between 1860 and 1945
  • Interests
    Learning, always learning, and helping out where I can.

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  1. I apologize in advance for the quality of the photos I would take more but it is across the country at my home at this point. I bought this violin some time ago, but at this point it is almost taken to complete pieces and sadly I don’t have any means of working on any protects at this time. However I figured to keep learning id ask what y’all think minus the button repair. I know that will be a change. The corners are fully blocked last I checked, though the blocks are thinner on the bottom bout. The arching is rather tall but so are the ribs. It gives me Italian feels or German copy of Italian. What do you think?
  2. Hi everyone! im looking for a glue pot or recommendations for one, as well as some closing clamps and really any clamps anyone likes for closing cracks in the saddle area. I no longer have access to the shop and have some small projects going that still involve opening. flatt
  3. A lot of that has to do with the slant of the flame over the grain. As a quartered wedge The grain is as vertical as possible. After one splits the wedge in half joining at the widest part. It’s all in the grain. I suppose the joined wood could be flipped according to taste but some times there is only one way the pattern will fit.
  4. Bass bar. Is it integrated? Or glued. Are all the corners blocked fully? or half way? or not at all? Generally fake corner blocks are a bad sign. I like to look for deep ribs and arching because that’s more of a Guarneri style and therefore not one of billions of strad copies (not to write those off I’m just tired of them). when I cannot view the violin in person: I also look for figuration on the neck. The neck area can tell you a lot about the quality of varnish used. Does it look like paint? Did they varnish the whole neck? Or are the varnish endings opaque with layers. Purfling is also important. Just make sure it’s there, and don’t be fooled by double purfling, it doesn’t always mean it’s special. The top grain I like to see tight and a feathered sheen. that seems to be a sign of soft and supple wood. The maple back and ribs well figured. (Bonus if they’re one piece) I know this is an unpopular opinion but having a nice chunk of wood when making a violin was not the concern of the factorys in the ‘60s. it also just helps when looking at photos. No they don’t always need to be flamed, but then you really need indicators of workmanship. and if they are well flamed does the flame change with the angle of the picture? If not then they are dead or fake. Just as a bonus.. try and see if the maple is all from the same block; same flame width and character. These are only a few things, but they’ve served me well enough. just try to trust your gut on it, and remember to look at the entire violin at times to avoid myopia. flatt
  5. Ah yes someone will learn how to bow straighter via Luthier expenses
  6. Thanks! I do think it will wear down with time but the antiquing that does happen hopefully will be just enough to add character without collateral damage. And hopefully some restorer will think it worth restoring one day and not “the usual”.
  7. Haha my reasoning was that most all Guarneri models lose their corners almost completely with time, which does add to the character… but I figured I’d save someone the trouble and headache of taking the top off later. Also… I wanted to have fun with the purfling, which I did
  8. Thanks so much I love working with my hands. and yes I am working with a maker and have some good sized scraps.
  9. I am building the same model currently, and I may regret it later but I did lengthen the corners on the top. Nothing structurally different, but just slightly larger corners.
  10. For sure, but no rocket science. Itll be worth it
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