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  1. It is not a competition Melvin. You do not know me, and I am not interested in one-upping one another in regards to violins. That is not worth my time, atleast. I posted a question hoping that the educated and generous other users on here might be able to save me some time and effort/offer advice. No need to be rude.
  2. Thanks all! Hi Don, right now I'm trying to get the best ideas of my options, while weighing various factors in regards to weight. I haven't determined what I think will work best, as frankly it is all going to be a bit of an experiment. The instrument in question has both very piercing qualities that could benefit from being dampened by a heavier tailpiece, as well as a generally quite dark sound that might benefit from a lighter tailpiece. I've had trouble getting specs from the various manufacturers-hence hoping to get information via other sources. I haven't been able to gather enough to compare makers re: weight unfortunately. I realise boxwood will be lighter, but am trying to gleam how much the weight of each wood varies across the main makers. I wish! But, my chins will also definitely cover up my beautiful tailpiece . Thanks! I was actually looking at your website yesterday! Thanks Melvin. I've actually been adapting to instruments I've performed on for many years. The current being a Panormo on loan, and prior to that a Ceruti and Rocca for years that I had loaned to me at the same time, a Testore etc. I am no stranger to adapting to the particular set up of a high end instrument. Frankly, there is no "adapting" required for a high level performer in regards to a tailpiece being switched. The concept has never even occurred to me, and isn't a consideration in my opinion. In regards to tailpiece weight, I am purely trying to optimise the sound my instrument might be able to produce. I am not trying to negate other factors that might impact the quality of sound. I currently have the luxury of setting up instruments I play on in any way I should choose. I know what sound I am aiming to achieve from an instrument and am not making assumptions without reason. Why make decisions without as much information as one can gather; potentially making one's goals harder to achieve? That just seems like cutting off one's nose to spite one's face. Thank you!!!
  3. Can anyone make any suggestion as to potential origin of this instrument? I have been told by a dendrochronologist that it is made of wood that was ready to be used from the mid 1820's onwards, and that the wood is mid-European. There are high quality repairs inside that are not recent, and despite the instrument's terrible set up it sounds very surprisingly good. To put that in perspective, I currently perform on a Panormo which it stands up to in many areas. Based on photos, various of the world's big dealers/experts have been puzzled, but curious. Suggestions have been made that it could be a 19th century copy from possibly Berlin or potentially be Hungarian, but no one has been able to make an educated guess as for a particular maker. The Voller Bros and other English copyists have been floated, but disregarded. Any suggestions or observations would be greatly appreciated! https://www.dropbox.com/sh/xelspaosbyo6hi3/AABP-ZCdHeBigshHSJ7Rw5RXa?dl=0 Thanks for your help!
  4. Does anyone know the approximate weights of any of the Tempel, B & C, or J.S.B. Hill style 108mm or 109mm ebony or boxwood tailpieces? I've gone down the rabbit hole of trying to figure out the best option for a violin I've purchased, and am finding it challenging to get the actual weight info. I've perused the many tailpiece related discussions on here, but have not found much that compares weights across the different higher end brands. Any info or general thoughts on the above options would be greatly appreciated! Thanks!
  5. Hi all, Any thoughts on whether spruce blocks/lining and entirely beech purfling might suggest a possible area of origin for a late 19th century instrument? Thanks!
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