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Showing results for tags 'Luthier'.
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Was there a violin maker with a name like Hartel near Carnegie Hall in the 1950's? I met a man yesterday who said that his grandfather had a shop there. Now I can not recall the name and have no contact with this person. Thanks
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As I read some conversation here, I found some of the experts can tell if the violin constructed by BOB or inside mould by a just a photo. I wondering how and which part of the violin can tell the method of the construction. Just curious and would love to learn about it. Thanks -
Hello everyone, I want to give some background to contextualize my need for a luthier to consult with on a custom electric violin My name is Cooper; I'm 24 years old and have been playing fiddle for about 19 years. I am classically trained and also grew up playing country music, particularly Western Swing. I'm from Bakersfield, CA and I am very proud of "The Bakersfield Sound," Buck Owens, Merle Haggard, etc. Currently I play in a Bakersfield Sound band with my brother and our friends. So much fun! Mosrite was a Bakersfield based guitar company that left its stamp on country music and music in general. With artists like Buck Owens and Merle Haggard, Fender, a California brand, rose to prominence because of the Bakersfield Sound. Why do I bring up electric guitars when I'm looking for a violin? Well, I am looking for a custom luthier to make a guitar shaped electric violin (filled body, non-acoustic), one either in the style of Fender Telecaster or a Mosrite Ventures model. The idea is not completely unfounded (check out Mark Wood's "Katana" and "Legend" electric violins). I do wonder how realistic it is to make one. I have some details in mind (shorter body, issue of bow clearance, putting a "saddle" on the neck where it would sit traditionally on an acoustic violin, geared pegs, guitar-esque tail piece or regular one, fingerboard height, etc.) Of course, these issues should be fleshed out in more detail with whomever is interested. It would be ideal to discuss price range first too. I am new to this forum. If you have public contact information (website, business email, etc.), please do share! Or, let me know what way is better to get in touch! Thank you so much for your time and consideration! Cooper
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My violin had a sick sound for a while, and I took it for repairs. The top was removed, and cracks on the top plate fixed with cleats. Some work was also done on the varnish. The sickly, weak sound is no more, and there are nice overtones on every string. The G sounds great, the D is fine, but the upper register and particularly the A.... it has become nasally. As if it has its nose clogged. This wasn't an issue before the repair. I tried moving the soundpost closer to the bridge, but that just made the overall sound harsher. I tried a different, longer soundpost, placed more towards the center of the violin, again no effect. I changed the tailgut, from kevlar to a nylon one, no real change. I also put a new A (thomastic dominant), didn't change much. Is there anything else I could try? Or ask for a luthier to check? Another thought I had, was maybe the violin just needs time to adjust after having the top reglued? It's only been a couple of weeks and I haven't been really playing much on it (due to the fact that I don't enjoy it that much anymore). Thank you
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My daughter's violin had the wolf on B note of G string and I went to the best Luther in my city. He told me most of the Italian violin got wolf tones and It's hard to make it disappears. He told me it needed to open the violin and take very long time to fix it and he is not 100% sure if he can make it disappear. I read an article about René A. Morel fixed Sarah Chang's Del Gesu wolf tone. but sadly he passed away on 2011. I wondering if it worthy to give a try? any thoughts? thanks a lot!
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Does anyone know anything about these two makers? I have a violin made by each of them on loan for a couple weeks and I can’t find anything about them other than the page on Terra Nova for the Bykowski. I’m especially interested about info on the Bento as it was made in 1905. According to the label in each violin the Bento was made in Italy and the Bykowski is Polish.
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My violin's sound suddenly became weak and hollow one day. I brought it to a luthier and they glued an open seam that had appeared on the top plate, on either side of the neck of the violin. The sound was good for a few days, then a buzz developed. Brought it back and they re-glued the same seam (it had reopened). After this last visit the sound is almost as weak and hollow as it was before bringing it for repairs, but a different luthier could find no open seam or any other issue with the violin. I am at my wit's end, can't bring myself to play the damn thing anymore and really would like to avoid having to get a new one. What can I do now? Is it possible that the seam repair was poorly done? I won't attempt to fix anything myself but maybe there is something I can ask a luthier to do. Thank you
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Hello! I have had this violin for a little while and I would like to know more about it. On the inside it says “Tone ____ and Repaired by A.W Van Dorsten, No. 542 Maker Dec. 1916” I also am really interested in the design on the back, and would like to know more about who could have put the design on it, and if it was common to have that design. Thank you!
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Hi all, I am currently looking to purchase a new cello. I'd like to gather some opinions on the instrument (can someone let me know how to upload photos?) and its authenticity. I am a player myself and know relatively little about makers and origins. It has rather large F-holes and a beautiful one-piece back (maple). The label reads: "Joannes Valletianus fecit Matrito anno 1799". Has anyone heard of this maker or seen and of his work? The varnish is mainly orange with hints of deeper red. The varnish on back is slightly harder and shinier. The back length is 752 mm. It has a fantastic sound (very rich and deep bass. Recently performed it alongside a G.B. Gabrielli instrument - the sound qualities were similar). I will post photos as soon as I understand how. Thanks a lot!
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What are your favorite things you've heard a luthier say? My favorite was when one day I was showing an instrument of mine to luthier Nick Frirsz. He looked it over for several minutes with a rather inquisitive expression and said: "Well, it's pretty cool. It was made by someone, who was sitting next to someone, who knew what they were doing." I got a big kick out of this and will never forget it. I still have the instrument, which has since been restored and is really quite exceptional, and I think about that line all the time.
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Here is a really interesting Winterling violin that I had restored. It retains its original fittings, which is particularly cool because Winterling developed his own style of peg. I couldn't get the photos of the restoration to upload, but they can be found here.
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Good Day from Argentina to everyone! I have a question worthy of this wise Community... What do you know about violins with this shape? How much would this violin go for? And finally an ignorant question I assume myself: Does oil varnish ever get this dark naturally or is it completely deliberate? "Presumably German around 1930s - the label is in our opinion not authentic. Please listen to the video/soundfile & click on the image to see all detailed XXL photos below as part of the description!Finely carved scroll and accurately inlaid purfling. This beautiful violin shows no open cracks or open seams. Medium to fine grained spruce front and beautiful 1-piece maple back. The violin was completely revised by our luthier and checked on playability by our violin player. In our workshop it received new ebony pegs, ebony tailpiece, ebony chinrest, a new bridge and new strings. Beautiful rare instrument in immediate playing condition! Please listen to the sound ! Measures aprox.: total 60 cm / 23.6", body 36,4 cm / 14.3", vibrating chord length 33,5 cm / 13.2", weight 475 gr / ~16.75 oz." https://www.old-violin.com/rare.html A little more info: In Argentina we are still in full lockdown and I have by the grace of a higher being chosen to learn to play the VIOLIN, and couldn´t be happier. I´m done with Suzuki level 1 on a cheap chinese violin and Luthier Violin making is becoming more interesting by the minute! Thank you in advance, The Argentine Schindler
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Hello violin maker friends: I am new to this site and also new to violin making. I am making my second violin. When using the bandsaw to cut the wood for the back of the violin from outline, I forgot to allow for the button that the heel of the neck supposed to rest on! Can I glue a piece of wood to the body or should I scrap my maple and start with a new back? If I glue it, would it hold the pressure applied by the neck, or any other issues? Thanks for your input. Kaidee
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Hi All! I am a professional orchestral cellist and have been gifted this cello. Unfortunately it is about 1500 kms away from me (now with a family member who is not a musician) and I can't travel at the moment for obvious reasons! Looking for any ideas as to what it might be (or might not be!) Here is what I know (and don't know!) about it: -Was made prior to 1900, most likely in the 1880s or so. -Came to Canada from England. -No label -Seems to be short but wide from the look in the case. We only have the string length measurement, which is full-size (27.5 inches). -A casual appraisal was made 15-20 years ago with a value of 15-20K, but I have no more information. It looks a little like my own Mirecourt cello, so am wondering about that possibility. I noticed two distinctive dots on the back, but other than that can't see anything that looks at all unusual. Hoping someone here might have some ideas that can ease my curiosity until I get my hands on it and get a real appraisal done. Thank you so much for your help!!!
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i have a friend that has this violin, he paid 1500 euros for it, from a romanian luthier, and i heard that this luthier buys form china , a good set up and he sell at a higher price. Does it looks like a chinese violin?
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Master luthier Jonathan Cooper will be teaching a one-week lutherie class at the Acadia Trad Festival in Bar Harbor, Maine from June 28 - July 3, 2020. At his shop in Portland, Maine, Jon has made over 400 instruments in the last 40 years. His fiddles are played by many of the world’s best performers in trad music. In this one week workshop intensive, students will work together on a fiddle that will be completed in the white – no varnish. The workshop is appropriate for intermediate and advanced makers but can be a good beginning foundation as well for those interested. Students are welcome to bring an instrument they are working on and get guidance from Jon in working on their own instrument. The class will cover an introduction to design and construction in all important aspects. There will be hands on demonstrations as well as access to an extensive personal library and direct examples of work from famous makers. Daily talks on varying subjects including history, maintenance, set up and sound production will be open to the camp at large as well. Participants are encouraged to bring their own tools, however a limited number of tools will be available for students who do not have all the necessary equipment. This class has a $40 lab fee payable when you arrive. NOTE: Only 6 slots are available for this course. Register early to guarantee your space! --- The Acadia Trad Festival, to be held June 28-July 3, 2020, is a week of classes, workshops, concerts, community dances and music sessions held at the College of the Atlantic campus on the shores of Frenchman Bay in Bar Harbor, Maine. The 2020 Acadia Trad Festival will focus on Irish, Scottish, Cape Breton, Acadian, and Québecois music and dance styles, and boasts a world-class faculty. Major classes are offered in fiddle, songs, bodhran, guitar, bouzouki, harp, cello, flute, whistle, accordion, concertina, dance, live audio production and fiddle-making. Additional instruments and genres are offered as afternoon workshops. For more information, and to register or purchase concert tickets, please visit https://acadiatradschool.org.
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Hello All, Can any of you identity the chinrest in the pic that is attached? I’m looking for a side mounted large cup Flesch shaped viola chinrest that has some coverage over the tail piece. I have tried a center mounted Flesch but it placed me too far center.The chinrest in the pic looks like exactly what I need. Thanks George
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We are located in Windsor On Canada - We still have an amazing collection of tone wood for violin, viola, and cello - both 2 piece, single pieces and jointed pieces spruce and maple - most pieces are from 1974 - 1980's accessories include bridges, fingerboards, etc wood blocks for scrolls molds ribs scrolls roughed out tone wood roughed out bows (brazil wood - various sizes) hanks of horse hair for bow rehairing tools 6-14 terrco marlin violin carver (backs, fronts and scrolls can be easily reproduced here) and so much more We are very limited in time as we no longer have the storage - please contact me for viewing can be purchased by large or small lots Inquire please!!!! I can post close up pics of any specific pieces
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Hello All! Recently a friend of mine contacted me about beginning to liquidate the workshop of her late husband, who was a luthier. There are tool chests filled with gouges, chisels, saws, clamps of all types, templates for various violas and violins, as well as other odds and ends. Over the last month or two we began to chip away at the room nearly filled with supplies and tools, we have identified as many tools, parts, pieces, and woods as we can for the time being and have compiled an eBay store. There are plenty of quality tools, some homemade tools, and other tools with modifications that made his job easier. In addition to these items, there are some larger items that require local pickup in the NoVA, such as a 10" Craftsman Bandsaw, and a Gemini Carving Duplicator. That being said there is a voluminous wood collection, upwards of 100 sets, that, over the next year will be slowly be liquidated. There are other instrument accessories listed as well such as several cases and gig bags. It is my understanding that at some point soon the collection of cello wood will also be liquidated. Opening on eBay with seller AnthonyZ214 Hello all, who end up reading this ad, its time for one last push here before the holiday season! As some of the bigger items left the shop we decided to list more before a break for the holidays. Everything that didnt sell the first two weeks was given a price reduction and there are still some lovely tools, that people just missed, or didnt end up paying for, regardless, I would like to thank you, for reading this far and if you bought anything from the store I additionally appreciate that, its been a process, and its been great to work hear some of the messages that folks have had, and finding out that some of you have been in situations similar to mine, I truly appreciate the words of encouragement. There are a few slabs of wood left from week two, and a picture will be included of what we'll start working through in January! There are some slabs and stacks of cello wood as well, but that will be sorted through and taken care of in time. Final Auction of Fall 2019, Ends, Friday, December 13th, 2019 7:00PM EST/4:00PM PST Some larger items like the Gemini carving duplicator will stay up until purchase, that is to say afterwards of Friday. Thank you again, it means a lot during the holidays -Anthony Z. https://www.ebay.com/sch/anthonyz214
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I live in a country where we don't have any good luthier. Moreover, it's a hard deal to find a good violin, there's no music shop with normal violin (only cheap fake ones).. So I don't have any option except doing it myself. I will do it this way or another, but dunno the steps. Please don't judge me badly hahahah))) 1. As you see there are minor cracks. What material should I use to cover those cracks? Is it necessary to cover them? (pics of inside & outside below) https://imageshack.us/i/po9jreixj https://imageshack.us/i/plY0MBn1j https://imageshack.us/i/plH2Zi2Gj 2. Most of the cracks are on the ribs, but ribs are covered with additional ribs, so should I remove them, or it's okay to leave them this way? (pics of inside & outside below) https://imageshack.us/i/plSIOz4Bj https://imageshack.us/i/po33wiqAj 3. One more crack is on the neck. I think no need to do anything with it, still I took photo just in case.. (pics of inside & outside below) https://imageshack.us/i/pmXujnWtj I'm about to receive hide glue soon for it, so far, that's the only material I have for now. Now, one more important thing. When I fix them and put the spruce back I need to varnish it. I saw in few videos I found that the luthiers put coating, then they varnish the violins. Or I might be mistaken. Just need to know what materials to buy to varnish violin, how many layers of coating, how many layers of varnishing. Actually I'm not aiming to make the violin shiny, would like to make something like this (link in the comment). I hope you'll share your experience, please.... -
I've got a question about luthier setups and upgrading parts. I've been looking around for an intermediate level violin to upgrade to from my $400 student violin, but I'm starting to wonder if I'd be better off just upgrading the parts on my current violin and getting an excellent setup. So my question is 1. How much could I potentially improve a student violin by just having a luthier upgrade things like the bridge, soundpost, and tailpiece, and giving it a proper setup? 2. how much of a difference would a setup by a good luthier now have from the simple setup the violin had a year ago when it was sent to the shop for sale? 3. Is it worth taking my violin to a good luthier to see what he can do to make my violin better or is it better to just save up for a $2000 or so violin in the near future? UPDATE: I took my violin to a luthier to give it a look over and make sure its setup was good. He said the E string was a little high, but within acceptable standards and not worth adjusting, and otherwise, it was a good setup and he said nothing he could do to it like replacing the bridge or tailpiece would make a noticeable difference. While I was there I tried out a bunch of old German workshop violins, my favorite being a $2500 1890 Thomas Ernst. I also tried a $950 Martin Beck, but I didnt like it very much. On my way home I took a sharp turn and went to Y. Chen's shop, a Chinese luthier who lives here but has a workshop in China where he makes his instruments. I tried 4 in my price range and noticed a big difference compared to my current violin. They were actually very nice, resonant, and loud! I especially liked the $800 Arcos Brasil A. Carualho silver pernambuco bow I got to use in the shop. Even made my current violin sound much better. So at least I figured out that my current setup is fine and in order to improve the sound I need a new violin and a new bow. So now I will start saving money and go back to these two places (and probably a couple more. I hear there's a Romanian workshop dealer in town as well). Overall, a good day
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Hello everyone, I am a violin performance student in his last semester. For the last couple of years I have been teaching myself violin and bow repairs and studying the historical makers. I was always handy with a knife as a kid, and enjoy working with wood. I bought several broken german violins and bows from ebay and have restored them as a way to learn. For the last two years I have been getting quite a bit of work at the university I am studying at, as there is no reputable violin shop close by. I have done rehairs, cut bridges, replaced bow tips, silver wrapping and thumb grips, fixed frogs and eyelets, glue seams, reset necks, dressed fingerboards, the whole shebang. The thing is that I have not made a violin yet. I really enjoy the restoration and setup aspect and frankly as a fulltime student I have not had the time. So that brings me to the question, what do I call myself? A restorer, repairer? Would it be presumptuous to call myself a Luthier? Some of my work: www.instagram.com/azevedoviolinist
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Have you heard of JOHANNES KÜNSTLER? The label says markneukirchen, representing this might from a student of this string-making university.
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Portland, Maine master luthier Jonathan Cooper will be teaching a one-week lutherie class at the Acadia Trad Festival in Bar Harbor, Maine from June 24-29, 2017. At his shop in Portland Maine, Jon has made over 400 instruments in the last 40 years. His fiddles are played by many of the world’s best performers in trad music. In this one week workshop intensive, students will work together on a fiddle that will be completed in the white – no varnish. The workshop is appropriate for intermediate and advanced makers but can be a good beginning foundation as well for those interested. Students are welcome to bring an instrument they are working on and get guidance from Jon in working on their own instrument. The class will cover an introduction to design and construction in all important aspects. There will be hands on demonstrations as well as access to an extensive personal library and direct examples of work from famous makers. Daily talks on varying subjects including history, maintenance, set up and sound production will be open to the camp at large as well. Participants are encouraged to bring their own tools, however a limited number of tools will be available for students who do not have all the necessary equipment. This class has a $40 lab fee payable when you arrive. Please share:
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Hi! My wife, our three cats and I are looking for a fresh new live perspective, and posibilities to study and develop ourselves. Our country is small and don't have a lot of educational offer, and virtually none to Instrument Makers. So I want to know if anyone there would want an assistant or apprentice... or salesman, or whatever!!. I'm a nice enough violin player, but also can play viola, cello, viola da gamba, and tons of other instruments. I have worked and learnt in a couple local shops in my country, and I run my own shop now here. I do repairs and build on comission. I have built violins, viola, viola da gamba, medieval instrument of various kinds, and now i´m making a baroque lute. I have many carving skills, i'm native spanish speaker and can speak enough english, I know about business administration, import and export, can fix computers and cellphones, have sales experiencie, and teaching experience. Anything I don´t know, i´m willing to learn it. I just want enough to have a quiet life somewhere, and to learn more and become a better maker. You can see some of my work on my Instagram (https://www.instagram.com/lacasadelviolin/) If you are interested on working with me, please send me an email to victoracf@gmail.com, and I can send you my CV. Thanks!
