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Everything posted by Gtone

  1. Yes I have kept one of these,doesn't get alot of playing but has got a nice character like the OP with the same seal on the button although mine has worn a bit more. Would like know where these come from besides what Peter and Blankface have already said. Caussin school,Neufchâteau or Mirecourt is all I have ever found out.
  2. These can sound quite nice ,worth setting up.
  3. Hi pipper it has generally been suggested on this forum that some of these sellers from the south of France on Ebay aren't not all that trustworthy and given that you have inquired in another post or two about violins from one these sellers. Do you have anything to do with this seller? https://maestronet.com/forum/index.php?/topic/352322-opinions-on-collin-mezin-violin-please/#comment-971624 https://maestronet.com/forum/index.php?/topic/352683-help-with-identifying-collin-mezin-violin-no2/#comment-972906 Here is the seller ebay pages sold listings,the previous one you inquired sold for $4500 US did you buy it? https://www.ebay.com/itm/165473506315?hash=item2686fd540b%3Ag%3AvT0AAOSw1yxieDcr&nma=true&si=T8Ok%2Fa3hI1%2BDs2FoMJyHRI22UmE%3D&orig_cvip=true&nordt=true&rt=nc&_trksid=p2047675.l2557 https://www.ebay.com/sch/frcfra2011/m.html?item=165473506315&LH_Complete=1&LH_Sold=1&rt=nc&_trksid=p2046732.m1684
  4. Fully agree BF, I think about it all day, he's fucking mad At the moment he's got us all by the short and curlies, none more so than the Ukranians. His end will come. Peace.
  5. Hi Germain, Pure guess Antonio Sgarbi. Second question requires you to send it to me. I'll send it back...promise. It looks good anyway.
  6. Is the saddle an indicator of the purfling being original?
  7. The neck block reminds me of a Spanish guitar heel.
  8. Hi Bob,that may be a bit of a sidebar question.from my perspective if an unfound box of Antonio's violin/violas/cellos were found today I think it would probably be unanimous that they remain untouched. And maybe ethical is a stretch, that I used before,but like Nick said they're not living, important historical pieces nonetheless. A Vuillaume instrument I would think fits into that myself.
  9. I had never seen any instrument cut down so I was intrigued how it was done and what others who had done this go about it. In the absence of hearing before or after we can't say much. Maybe it was about making it more marketable/investment,still speculative I know. Thanks for the comments from others as well,I knew it was kind of impolite of me to ask about others work practices,but I thought I'd run it up the flagpole so to speak. Interesting about copying cut down violas and other Maggini's being cut down as well.
  10. Yes too right or even adjust your playing. You struggled with this question yourself recently Jacob about cutting down a lrg cello. I know you have been glad not to have cut it down but what if it were a customer(let's say a pesky one)asking you to do it? Someone without your skill set may end with the job should you refuse,which wouldn't be great.
  11. Thanks Dwight, I err on this ethical side of the discussion as well. But it brings forward the question of ,if the owner/paying customers requested you and the notion of whether they will take it elsewhere to get the job done if one refused to. I wouldn't have squirmed if it were a skylark.
  12. Yes I see, I didn't mean to slight their work with a vague notion of commonality more of an inquiry of a construction similarity influence,between them . watching with great interest Jacob.
  13. I posted this youtube clip to invite people,especially those with experience in these matters, to discuss the procedures and results. I know some if not most will not agree with it being done in the first place,to a Vuillaume or other famous makers instruments. Understandably,but as previously mentioned on other forum discussions it may be rendered more viable otherwise. It has been done though and I was interested to hear your collective thoughts on how he(Mr Godliman) went with the endeavor. I also realize that it isn't great to talk about others work,(but he did publish)so if you'd rather not say that's fine,maybe post...no comment. Made for interesting viewing though and I thought others may like to watch it Also,although I don't know him,I respect his skills and hope that the discussion remains courteous. https://www.youtube.com/watch?v=qdd5o8nz9y4
  14. Yes great addition to the post,thanks Jacob. Viennese guild members around this time period,as you have mentioned here before that they were all fairly close knit,were they all very consistent with their outlines and forms? Blankface,earlier in the post, mentioned how much the outline of the cello was so very similar to that of the violins.Your post above confirms this with an exception of the buttons maybe. I was curious whether other guild members were similar in that sense. Thanks again.
  15. Hey thanks for your response Brad,something about the outline on the top seemed different,to my novice eyes. Hornsteiner family member? Kasper
  16. Yes I'd love to see more pics too Brad. Does the top look to be older,than the rest,to anyone else?
  17. Hey thanks very much for the reference pics,they look very similar(what a shame )
  18. Yeah I think Charles Mingus played it on one of his albums or maybe it was the old grey mare. no doubt played 'tongue in cheek'. Shortnin is a good example though of a melodic/rhythmic cadence.So maybe the teacher was saying it in good faith.
  19. Thanks for the response J, I think it is real whalebone. The other has real ebony frog which is why I thought maybe German. Plus I haven't seen a Japanese bow with a trench slide. love the tomato stake,Ha.
  20. Yes choose motifs rhythmic /melodic,then create themes(somethings to say),with perhaps key signatures in mind(depends on the ensemble setting as well)and then tensions for movement both rhythmic and melodic. Don't forget space(silence) AND RELAX FFS You could use C7 to move to F unless you're free to use what you like then any dominant will do to get to F Major,G flat7,E7,etc. depends on the melody. If you're reading continuo bass then you're confined to the style/period somewhat. I was taught everything fits into 1 and V (tension/release)and I've found that to be true in what I've heard. Noodling is just that,noodling.But fun to do with a group sometimes though. There should something being said.
  21. Thanks,I've been told it's butterwood.It's very light.
  22. Yes Bill but if Philip is taking notes you mean the flat seventh as in dominant, just to be clear.
  23. Sorry the light wasn't quite as good and my picture taking will improve. Thanks for your comments.
  24. That is great looking violin,nice tribute. Must of been a well loved friend.
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