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my wife and i are getting pretty good at using "store bought" oil varnish on our violins. We are now thinking of making our own varnish. Any recommendations on good books with info and recipes for making oil varnish? Any scoop is appreciated. Thanks Mike Conroy Conroy Violin.. www.facebook.com/mtviolin
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https://newyork.craigslist.org/wch/msg/5898535822.html "Excellent old Violin late 1800's" I have no intention of purchasing this one for the price stated, but since it's almost identical to a refinished one I have, would you say it's really late 1800's, as stated? Probably Schoenbach or 'Bohemian'? the one I have has a neck graft and bushed pegs, but that was probably added to make it appear older.
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Hello, I was helping a friend clean her attic the other day and stumbled across a really nice violin. The label on the inside has the of Jean Baptiste Vuilliame on the inside with a stamp the date (1844) and a signature. There was also a paper stating the violin was maintenanced sometime during the 50's. Does anyone have more information on Vuillaume? Here's a link to view photos: http://imgur.com/a/b6RB0 Thanks,
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No longer relevant. This thread keeps getting mentioned out of context in other threads. Out of respect, I was going to take it down, but MN must not allow deleting old threads that one starts. So I am going to delete my comments. Thanks, everyone for your help and insight!
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No longer relevant. Thanks, everyone!
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Hi, I found this violin: link The price not bad (master violin) and the violin certificated. Opinions about this violin maker? Thanks!
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Please come to The Amati Exhibition on Sunday 23rd and Monday 24th being held at the Langham Hotel in London. The Amati Exhibition showcases the very best antique and contemporary instruments and bows. Now in its fourth year the exhibition is an invaluable networking event for the stringed instrument community. The focus for this year is to reintroduce a more relaxed and informal feel so rather than a host a concert we are delighted to be joined by Trio Isimsiz for Sunday’s drinks reception. They are going to play Dvorak’s piano trio in F minor and the last movement of Schumann’s piano trio in G minor. On Monday there is an ‘Open Stage’ session where musicians from YCAT (Young Classical Artists Trust) and the Royal Welsh College of Music and Drama will perform with instruments chosen from the exhibitor’s tables. Our instrument highlight this year is a cello by Giovanni Grancino, Milan, 1696, generously loaned from a private collection courtesy of J & A Beare. The cello has survived in a remarkably pure state with unpolished naturally worn varnish. Entrance on both days is free. For more information please contact Charlott on +44 (0)20 7099 7114 or visit the exhibition page on our website. Exhibitor List Adam Whone Violins Allianz Amati Auctioneers British Violin Making Association Caballero & Graswinckel Chaconne Chris Halstead Colin Adamson Fiddlease Florian Leonhard Fine Violins Gaspar Borchardt Helge Netland Lark Leatherwood Bespoke Rosin Mark Jennings Matthias Kayssler Newark School of Violin Making Noel Burke Paul Shelley Peter Oxer Rod Ward Royal Welsh College of Music and Drama Sunrise Thwaites Turner Violins Ulf Johansson Ulf Kloo William John
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Hello everyone! I am a new member to this website, but I have often lurked around the forums without having signed up. I decided to sign up after digging through over 50 pages of this forum and through various topics/google searches/etc. Let me explain my situation: Many of you tell enthusiasts to avoid eBay altogether. I usually agree with this sentiment, but I've found a violin I need some help on. The seller is rather suspect, and has been mentioned many times over regarding misrepresentation of their instruments, shady practices, etc. I did research on said seller and found quite a few interesting things. (Not sure if I'm allowed to say the seller by name, but here are some links, some of which are previous discussions on these forums): http://www.fiddlehangout.com/archive/26769 http://www.violinist.com/blog/BlueRidge/201111/12887/ http://www.maestronet.com/forum/index.php?/topic/329003-took-the-plunge-first-ebay-violin-toughts/page-1 http://www.maestronet.com/forum/index.php?/topic/329805-oops-i-did-it-again-another-ebay-violin-18-another-bass-bar-crack/page-10 The instrument in question, that I find very beautiful and interesting, is here: http://www.ebay.com/itm/311700530758?_trksid=p2060353.m1438.l2649&ssPageName=STRK%3AMEBIDX%3AIT I have a few reasons for finding this German copy so lovely. I have always wanted a uniquely carved scroll. I first saw a lion head scroll when I was young and in a local community orchestra (and was so much of a go-getter that I would constantly bug my stand partner about borrowing her instrument should she ever wish to sell. She doesn't even play anymore since her arthritis and vision have become too poor.) I've liked them ever since. Anything unique about an instrument is fascinating to me, so I'm not particularly huge on mass-produced, modern instruments. I figured, after doing some research (and with my limited knowledge), that this particular violin was a German factory-made violin, which could potentially decrease the value significantly. I know that many Chinese makers now mass produce instruments of the Baroque style. I've seen some awesome/funky instruments with scalloped (pie crust?) edges, semi-rounded c bouts, or entirely corner-less (aka the guitar style?) I particularly admire the rounded violins and have found a few in the past few weeks of looking around: http://www.dzviolin.com/index.php?main_page=product_info&cPath=119&products_id=1157 http://pickerssupply.com/new-and-used/cornerless-44-violin-used-bow-and-case http://www.instrumentspast.co.uk/instruments/CV/C196V.html If you're not all turned off my my verbose first post, hopefully you can guide me on a few things. I wouldn't be using this violin for any symphonic performances. I would get this instrument for (most likely) use with a Fishman pickup, since I currently don't have an electroacoustic violin for gigs where my Zeta Jazz Fusion's look doesn't really match the vibe of the performance. I've thought about investing in an electroacoustic or fully electric (with an acoustic feel) instrument that looks a bit more natural, like one of these: http://www.electricviolinshop.com/wes-lambe.html (though I don't like the fact that the back exposes all of the electronics) http://www.electricviolinshop.com/acoustic-electric/zeta-acoustic-pro-4.html (since I already have a sponsorship with Zeta, but was looking to branch out in terms of tone) Note: I am an electric violinist and perform many genres of music, so I'm not just limited to classical or chamber performances. I know this eBay dealer is a little sketch, and that it's very difficult to know the playability of an instrument without having tried it first. The seller DOES have some good pictures of the violin, and also has included a youtube link to samples of the violin being played (albeit out of tune, and with steel strings that sound horrible. I do like the tone somewhat, though I can tell the strings are smashing a lot of the natural resonance of the fiddle. Once again, I am NOT looking for an orchestral instrument. I'm mainly looking for a cool, unique, older instrument with this particular body type and an interesting scroll.) I've contacted the seller on eBay and received a somewhat vague, unhelpful answer regarding my questions regarding the violin's age, authenticity, appraisal, etc., as well as international shipping and return policy questions. ALL OF THAT BEING SAID. I know this particular instrument is NOT worth the pretty penny that the seller is charging, but what are the general thoughts you might have regarding this instrument? What would be a reasonable price for me to offer? I really love the unique look of it, and it would be a backup for gigs where I need an acoustic-looking but electric-sounding violin. I am not concerned with the value as much as what I would potentially be spending. I love older instruments, especially rare or unique ones. This would potentially be a "knocker" violin I could use for outdoor gigs as well (since I also play a lot of beach weddings and events where I don't feel comfortable bringing my orchestra-ready violin.) I also don't mind that it's not the highest quality, but want to make sure that I'm not going to be getting ripped off with a less-than-tasteful, factory-made instrument (especially if it's not actually from the 30s-40s like the ad purports.) Any thoughts or even links to similar instruments would be wonderful. Thank you for reading this post!
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Hello, dear violinists! I would like to share my experience with you. One day I accidentally stumbled on very interesting musician's website. The author is Alexander Shonert. There, in section "Learn to play the violin", I've found out, that he has developed a technique, called "The Shonert Technique". Usually musicians follow some musical schools and copy their techniques. But Alexander developed his own method based on the traditional violin school. The specification of this method is learning how to fill and manage your body, especially how to manage your mind. I was also interested by the fact, that lessons can take place not only personally, but also on the Internet, in Skype. I've decided to try and signed up for a lesson. The result was simply amazing! After just couple of lessons my level went up very much! And most importantly, I really enjoyed the lesson process. In general, I recommend! Try it! http://shonertacademy.com/violin-lessons-in-person-and-online/
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Hi, please, write to me your opinions about this violin: link This violin not labeled and I not know.... Thanks! James
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Hi, I seeking informations about Alain Aventini violin maker. I found only this information: link Best regards! James
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Hey there I'm not sure if this topic belongs in this forum but I guess I'll go for it I've had my viola for a few years now and as pretty as it is, I managed to put a few ugly scratches on it, (by accident of course). there aren't that many but they're kind of obvious. To me, anyway. I like to consider myself an artist, particularly skilled in swirly doodle looking stuff, and I was curious if it would be safe to use acrylic to paint swirly doodles on my viola. I've read several articles regarding painting on the bodies, so I'm definitely aware of the effects heavy painting has on the wood and the sound quality of the instrument. However, I don't intend to cover the entire instrument in paint like the authors of the forums and articles I have previously read, I just want to do some extremely simple and light designs that are just dark enough to cover the scratches, which are mainly in one main area on my instrument. The color would be similar to that of the instrument: a reddish brown color. Nothing fancy. I was wondering if it would be too damaging to the wood or affect the sound greatly. If so, are there any safer alternatives?
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Metropolitan Museum of Art Violins Amati Strad
BassClef posted a gallery image in Authenticated Instruments
From the album: Amati & Strad Violins at the NY Met Museum
© Owned and Enforced by Martin Swan Esquire. Any reference to these images in any way will be met with a law suit. (Don't even look at them)
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Hi, I can not decide what to buy, new or old violin. The new violins very nice and the old rare and valuable. I found these new violins: link and old violin: link Please help to me. Thank you very much!
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I had this posted in Pegbox, and it was suggested it more appropriately belongs in the Contemporary Maker's Gallery. So here it is, #23, based on Strad 1716. sound sample https://www.youtube.com/watch?v=ox0CYYB_fSs Alex Shlifer violinist with Greenville Symphony. T https://www.youtube.com/watch?v=ox0CYYB_fSs click for sound sample. All Romanian wood, OldWood ground and varnish. No extra charge to leaving tool marks showing here and there. I'v e been asked about the purfling, its maple/pear/maple, slightly wider than the standard purfling with the fiber layers.
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http://www.facebook.com/photo.php?fbid=10154923840977662&set=pcb.10154923841412662&type=3&theater Interested in opinions on who may have made this violin. Acquired from a horse trader circa 1950s/60s in Idaho. Fake labeled JB Guad. Came with tattered Lyon and Healy "certificate of authenticity". May have had some connection to Weisshaar in L.A. Beautiful dark viola-like sound. Rather heavy fiddle. Suggested by Bill Moennig that it might have been made by Sgarabotto.
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Hello everyone, I am looking for the plans of the Bartolomeu Giuseppe Guarneri 1741 Vieuxtemps Thnak you all very much, Dwight Santos
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Hello, I am looking for a Hill violin bow frog with stamp "B" to fit my bow. Let me know if there are any for sale. Thank you!
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I decided to weigh the "violin" bows my mother sent recently. Although none of them have the rounded-edged frog, the "Bausch" weighs 68g and is slightly shorter than my known violin bows. The "E. Sartory Paris" bow is also slightly shorter than my violin bows and weighs a hefty 71g. Are these violin bows or viola bows? My known Hill violin bow weighs 61g and is a scant cm or so longer.
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I was looking closely at my mother's old violin today, and realized that something I'd always considered to be damage on the top actually looks like writing, perhaps by some method of engraving or stamp. It just looks too "regular" to be simply damage. I'm attaching a picture and wonder if anyone out there has seen similar. I cannot make out what it says. http://www.facebook.com/photo.php?fbid=10154811576642662&set=a.447674227661.227685.626802661&type=3&theater
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Hi all, I want to change my violin's end pin and I have already ordered the parts. I understand that it needs to be shaved to fit. Is the taper the same with the tuning pegs? Can I use a peg shaver ? I also ordered the peg shaver and awl for future use... thank you
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So what do you think - Sartory or not Sartory? The negative image is to show the name stamp more clearly. You have to hit the right arrow on each pic to go to the next. Thanks. http://www.facebook.com/photo.php?fbid=10154814637567662&set=pcb.10154814638322662&type=3&theater
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Hello, I am curious how much will it cost to do a arching correction,cracks cleaning and reglue, chest patch. Cause I have a violin that needs a professional repair. However, there isn't any workshop near to my place. Therefore, it will be great if i can get some opinions here. I have attached some images below.Thank you! http://i63.tinypic.com/28in6og.jpg http://i68.tinypic.com/2eol7hd.jpg http://i66.tinypic.com/i43jgw.jpg
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Hello, I am repairing a violin front with a few cracks. And some of the wood on top of these cracks are missing (i.e. varnish side). However, the bottom wood still remains.I was thinking to use wood filler or cut away the wood to insert a new piece of spruce. Does anyone have any ideas? Thank you! Top (varnish side): https://postimg.org/image/5kr0x6nr5/ Bottom: https://postimg.org/image/mwrdimh8h/
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So I was hoping, with the help of experienced people, that I could make this topic into a checklist that you can have when trying to identify where your grandpa's Stradivarius, Grandma's Guadagnini, or that fiddle you found in the attic was made. I will list a few places, and if anyone want to share some of their time, please say what the traits would be for the violin. Most of what I used so far has been posted by Jacob Saunders in other threads. If I made a mistake with the categorizing, please note that the mistake is my fault. I will include all the quotes in Post # 2, as reference to who said what originally. If anyone have any other info to share on different places and those methods, please share. I will add everything to the original post. Markneukirchen/Schönbach: (Dutzendarbeit) Rib construction method: Built on the back. No mould (until later years) Corner blocks: Cosmetic or proper. The Dutzendarbeit method didn’t necessarily require corner blocks and therefore often didn’t have any, where they do, they mostly have, seen from the plan view a more equilateral triangle aspect. Ribs: The ends of the rib at the corners left long, so that you can get a cramp on to glue them together, and shortened afterwards, with the tendency to remain almost flush with the ends of the back outline at the corners. The Dutzendarbeit system involved making the ribs much longer first, so that they could be cramped and glued together and then rasped off afterwards. This leaves the joint either in the centre, or indistinguishable. The ends of their ribs were then often chamfered off at an angle, so that the rib ends don’t look so thick. The Dutzendarbeit ribs often end at the furthest protrusion of the back/belly corners. Scroll: Dutzendarbeit tend to me more rounded off and over in both respects. Fluting finishes as early as 6 o’clock. Back of the scroll tends to finish less sharp, or have a kind of “delta” at the bottom. Linings: Linings are not let in to these “corner blocks”. Back/Belly: The Dutzendarbeit bellies were roughed out with integral bass bar, until they developed a routing machine which made fitting and gluing a bass bar necessary. This was a remnant of the old Markneukirchen tradition and was neither quicker, easier or a short cut. Purfling: Dutzendarbeit often has stained blacks, where the stain hasn’t penetrated too the middle of the black strand, leaving a strange impression of grey/white/grey Mittenwald: Rib construction method: Inside mould. Corner blocks: The blocks glued to the mould, then cut to shape in the middle Ribs: Inside mould. This results in the Mittenwald ones having the join at the end of the ribs to the C bout side, the rib ends finishing cut fairly square. The bottom rib of a Mittenwald Verleger violin is with occasional exceptions in one piece (or was) and normally has a notch or notches (top and bottom) to mark the middle. Mittenwald rib corners stop a couple of mm before the end of the back/belly corners. Scroll: Viewed from the profile, Mwald Scrolls tend to have a pronounced “back of the head” (Hinterkopf) also a prominent “forehead” with sharpish champers. The fluting in Mittenwald goes all the way into the throat. On the back of the peg box, the Mwald centre spine normally remains sharp right to the end (and is often prominent vis a vis each side) Linings: Back/Bellies: The Mwald Backs/Bellies are, although smother, no more carefully worked out, often being either too thick or ridiculously thin. They have glued in Bass bars. Purfling: Mittenwald purfling is normally fitted far too deep, encouraging edges to break off. They tend to have “bee stings” which is less characteristic of the Dutzendarbeit. The black strand of the purfling in Mwald seems to be stained right through equally. Mirecourt: Rib construction method: Corner blocks: Scroll: Linings: Purfling:
