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  1. We have some of the most beautiful wood there is
  2. This process could have been to import them. I really want this Kaplan to turn out to be American made. On the other hand, I can't ignore the opinions of the actual experts here. What I do know is that the better grade Markneukirchen fiddles are consistently pretty good, and occasionally stellar. If your violin sounds great, awesome! But that doesn't exclude a German origin.
  3. Polyurethane glue should be on the list. It's uncommon in violin making, except when installing certain geared pegs; then it's a necessity.
  4. I don't want to bash Jerry, because I've really enjoyed his guitar and mandolin videos. But it became obvious to me years ago that most violinists are clueless and very easy to take advantage of. The onus is on the repairman to be ethical. A satisfied customer does not mean you did good work!! I feel that Mr. Rosa's confidence comes from positive customer feedback, which is a huge red flag. It's a lot easier to satisfy customers than it is to repair fiddles. Don't use titebond. P.S. this is also not intended as a jab at violinists. I love violinists! The Maestronet crowd is definitely more knowledgeable than most players you'd encounter, especially in rural areas like mine or Jerry's.
  5. I would think that the best way to tell if ebony is good quality is to try to carve something out of it. If an expert bow maker used it for a frog, you can be sure they didn't consider it poor quality. Plenty of opportunity to stop and grab a different chunk, yet they used this one.
  6. Like all "world's firsts," I'm sure this gimmick has been done many times before, just no one tried to claim the publicity until now.
  7. Yes, the style of the violin has nothing to do with what the label reports it to be. Schweitzer labels are common in a certain type of Markneukirchen fiddle. They have a lot in common with each other, but not with Schweitzer, Amati, etc.
  8. It's worth mentioning, as Jacob often does, that it's not a fake Schweitzer or a Schweitzer copy. These violins are nothing like Schweitzers. I don't dislike them (the one I've played sounded nice), but the name on the label is completely irrelevant.
  9. If you can't hold your fingers in the glue, doesn't that mean it's too hot?
  10. It really doesn't look that drastically too wide in the photo. I'd just go for cello purfling and fill with lycopodium if you have to. You shouldn't use epoxy anywhere near a violin. I can't tell from your photos if you've done both plates or just the top. A tip that's helped me is to always cut the groove in the back plate before the top. Maple is much more forgiving than spruce, so it's a good warm-up. I for one don't mind the look of bad purfling, and I'm sure your next plates will be better.
  11. I admit I'm rather surprised anyone has had any success with those purfling pickers. How do you do it? I've found them to be utterly worthless, worse for their intended purpose than any jury-rig I've ever tried. Not trying to be overly negative; just could someone please explain to me how you make it work?
  12. Go for it! ID is a favorite pastime on Maestronet. But beware, you may not like what people say.
  13. https://maestronet.com/forum/index.php?/topic/346937-self-made-useful-tools-or-templates-for-violin-makingrepair/&do=findComment&comment=932670
  14. I can't pretend to have all the answers, but when I was a kid I put together one of the "scooty things" out of legos. It seems silly, but it works so well I've been using it ever since. I tried using sandpaper once and hated it; rather I just use the device to hold the bridge perpendicular. It has rubber tires and I don't roll it (I just set it in place and use the axle as a hinge) so I doubt the varnish could mind.
  15. I wouldn't consider the repair inadequate, but there are restorers who would make it disappear. Now that's a lot of work. This looks like a pretty good patch up but not on the level I'd consider impressive. Maybe I shouldn't be so negative.
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