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  1. Thank you all for your kind replies. I asked this question from the perspective of an amateur violinist, I.e. generally with more affinity to “The Fingerboard” than “The Pegbox”. I was gifted two violins in very hard shape, one a German workshop instrument from early 20th Cen. as I mentioned, and the other probably built by an amateur around the same time. Of the two, the German instrument is in poorer condition but possibly has better potential. Unlike the hapless Austrian customer mentioned above, I have no illusions about their value in any condition. As a retired ophthalmic surgeon with much woodwork and precision handcraftwork experience, I may try my hand at restoration, learn some things, make some mistakes, in order to get some entertainment and learning value out of them. Fortunately, they owe me nothing more: I can close the door on the shop whenever I want to, and enjoy playing my very nice 1948 violin. Thanks again for considering my question.
  2. In the luthier community, is there a conventional approach to violins that were not particularly valuable to begin with (e.g. early 20th Cen. Markneukirchen workshop instuments) that potentially could be repaired to playable condition, but would require many hours of restoration (e.g. possible crack repairs, new pegs, tailpiece, bridge, possibly soundpost, strings). Are these simply discarded? Are they used for parts and patches? Are they simply hung on a wall as shop mascots? My dilemma is an approach to instruments that are possibly "too nice" for the woodstove, but in very poor condition, with unknown prospects for sound quality. Your thoughts?
  3. Hi David - Like many on this thread, I have experiemented with a variety of shoulder rests. My challenge has been to find a setup high enough to fill the allotted space (I am relatively tall and thin). I used a Kuhn for a while - though I needed to modify some of the "long" clamps by soldering in a brass tube extension to raise both ends. This worked, but it was "one off" and time consuming to do, and it was a little unstable due to the extensions. Rests lilke the Mach One were way too low. For my current setup I use a BonMusica shoulder rest, together with one of the taller SAS chin rests (they come in various heights) mounted mostly centrally on the bass side of the tailpiece. The SR is mounted 3:00 - 9:00, with the clamps straddling the point of maximum width of the lower bouts. The clamps are mostly extended. It was very useful to discover that the vertical plane of the BonMusica need not be parallel with the back of the violin - it was much more comfortable rotating it on its long axis, inclining it downwards toward the end-pin. This helped quite a lot. I also increased the "hook" shape of the bass end of the metal bar. All of this took so much time and effort that I bought an extra SAS chinrest and BonMusica rest as spares! With the caveat that everyon'e anatomy is slightly different, I hope this helps!
  4. I like: 1) Linn Classical - Good for choral works, especially wake up hours 2) 1.FM Otto's Baroque - Comprehensive Baroque, but a little heavy on the harpsichord rep. 3) 1.FM Otto's Classical - Noce classical variety 4) Symphony Radio - Nice variety as well, more opera than above 5) Klassic Radio - Good variety, but loud ads I hope you try some of these! C
  5. CMZ

    Flame patterns

    Thank you! All of your answers have been very informative; much appreciated!
  6. CMZ

    Flame patterns

    I have been researching wood selection and construction of the violin back, noting single and double piece backs, from slab cut, wedge cut maple stock, etc. - all familiar. For two piece backs, I have not been able to find a discussion of the resulting flame pattern - some are ascending from the midline, some descent, and others are nearly horizontal. Are there conventions for the resulting flame pattern? Is this the makers preference based on the stock at hand, or is this proactively managed in some way?
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