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tetler

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  1. Have you tried running it in compatibility mode and as an administrator? Right click > properties > compatibility. That often fixes weird problems for me in Win10
  2. They look pretty different to me. The scroll on yours is rounder, the chin at the bottom is much less pronounced and the general shape of the pegbox is different. Are you sure about the neck graft being real? Do you see a joint that makes sense inside the pegbox? In general, I think it is a good idea to start by ruling out the basic stuff, like Blank face suggested, instead of trying to connect it to a specific maker. Everybody wants their violin to be something nice, and that will waaay too often lead to confirmation bias. And listen to experts like Jacob and Blank face.
  3. I know very little about bows, and I have always assumed that most of my bows are either cheap or complete junk. Most of them came with cheap violins. Recently, however, I have learned that a bow doesn't necessaily have to be stamped and/or silver mounted to be considered decent or fine. Being a complete novice, I figured I would take pictures of a selection and see what you guys have to say about them. Any obvious keepers or candidates for the bin? Personally, I think the snakewood one, number three from the right, looks pretty good. Let me know if you want closeups of any of them. Thanks!
  4. tetler

    Violin ID #9

    Thanks! Jacob, I too would be very interested in any specific ID points, whether it's about age or area. I have read and reread your posts on "cornerblockology" and Markneukirchen vs. Mittenwald a zillion times, and that information is absolute gold. It doesn't seem to apply to this violin, though. Like Bob, I noted the "Hopf style" body shape, similar to the "ICF" Ficker I posted recently. Is that a clue? What about the (now gone) through neck? Anything else?
  5. tetler

    Violin ID #9

    Thank you, Jacob. That would mean that the "oldest" repair label is fake. I didn't know that was a thing. May I ask how certain you are?
  6. tetler

    Violin ID #9

    Me again. This one has two repair labels; one from 1810 and one from 1902. No maker's label. Neck is grafted, and the scroll is fluted all the way in. The back seam is cleated. Your opinions are much appreciated!
  7. tetler

    Violin ID #8

    Any thoughts about this one? To me, the body looks rather crudely made, but the neck seems pretty nice. It has a real neck graft, peg hole bushings and the scroll fluting goes all the way in (looks like it stops early in the pic, but it doesn't). The back and rims appear to be birch, the blocks and linings are made of some kind of hardwood with huge pores. The varnish has white spots all over. No idea what that might be. I'm guessing it is a "homemade" body with a decent neck stuck to it, and that the whole thing is pretty worthless. Thoughts? It sounds interesting, though. Very dark. Thanks!
  8. tetler

    Violin ID #7

    Okay, I'll stay away from it for now. Out of interest, why is it much harder to work on an older violin? I pick up violins from local markets, second hand stores and such. This is one of those violins. My goal in general is to set them up and sell them. Money isn't the main motivation. I just enjoy the whole thing, but I'd prefer to stay on the plus side of course. I ask for ID because I don't want to risk messing up a fine violin, and because I just like to learn and to know what I have. Also, I don't want to overprice or underprice the instrument when/if I pass it on. The advice is appreciated. I'll keep it and leave it alone for now. And don't worry, I won't ruin it.
  9. tetler

    Violin ID #7

    Hmmm.. Just to let you know where I'm coming from: I have restored/repaired quite a few guitars before and also built a few acoustics from scratch. I have glued and cleated cracks in violins, installed soundposts, done basic setup including fitting pegs and things like that afew times. I feel confident that I can do the same on this one without ruining anything. What I don't want do myself (yet) is finish and retouching work. My original plan was to make it playable myself and sell it through a dealer on commission, as I have done with cheaper violins before. Now that I hear talk of professional restoration costs in the thousands, I'm leaning towards sticking to the original plan. Am I being reasonable here? I don't want to ruin a fine old instrument (and I don't think I ever will), but I respect your opinions, and I will listen to you if you advise against it.
  10. tetler

    Violin ID #7

    Thanks for your input! Much appreciated I don't think I dare to touch it if the price tag is anywhere near the one Blank Face linked to. But that's perhaps a bit opitimistic. Life sure would have been nice if every violin had a label stating its true origin. I always found it strange that there are so many fine violins that were not labelled properly by the maker.
  11. tetler

    Violin ID #7

    Thanks, guys. So, is it reasonable to assume that this is made by Johann Christian Ficker, late 18th century? It looks old at least. There is a ton of wear along the fingerboard. A good 1,5mm of wood has been worn away from the top on the treble side along the fingerboard. The soundpost is out. Is this a fine violin? It has two cracks that are open, and I am reluctant to do repairs on something that has significant value, monetary or otherwise.
  12. tetler

    Violin ID #7

    Hi. What can you say about this violin? It is labelled "I C F", and has what I assume is a repair label from 1900. It has four corner blocks and a through neck with the ribs wedged in from the inside. The lower rib is in one piece, there is a notch in the middle of the back, and the saddle is "let in". Thanks!
  13. No, a truss rod (if adjustable) is meant to change the curvature of the neck, usually to make it less curved. This mechanism adjusts the angle of the neck against the body.
  14. Like you said, plywood is more dimensionally stable, so it doesn't crack when exposed to low RH. Also, cross grain stiffness is higher due to the perpendicular grain in the middle layer, which can make it a bit tougher and more impact resistant. And it is cheap of course. On the downside, laminates have noticeably higher acoustic damping (lower Q factor), meaning the plate doesn't ring as long when you tap it. This is usually not considered desirable in the guitar world at least, and especially not in the top. High damping tends to make the instrument less responsive, especially in the higher frequencies. Also, long grain stiffness is lower in plywood. Laminates like plywood are typically only used in cheap instruments, but some high end guitar builders laminate the sides. The sides don't contribute much to sound production anyway, so the damping isn't really an issue there. Some builders laminate tops with a honeycomb lattice in the middle to make the top as light as possible, but that isn't very common.
  15. tetler

    Violin ID #6

    Interesting. I don't remember exactly what the label says, but it had a name and the city Christiania. I'll post a picture when I'm back home next week.
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