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Showing results for tags 'Violin'.
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All, I have an old violin stored in a wooden violin box that seems to be customized for this violin. Attached are the pictures. The violin has no bridge but soundpost is standing. All strings are missing. The tail piece looks old and hand-made by wood and is detached from the endpin. Pegbox has four pegs in there but do not seem to be a matching set. There is no visible marking inside the violin to help determine make/model/origin of the piece. The back of the violin is interesting. It has a drawing of some kind of a pledge in the lower bout. 13-stars on the flag with the Eagle flying. I believe the Eagle is holding a banner that says E pluribus unum (out of many one). I suspected this is from Civil War era but research on internet came up pretty empty as it seems band instrument (e.g. bugle, drum) would be more common back then with very limited information on violin. I saw another similar violin online but that one has a lion head scroll whereas this one is a regular scroll. I would appreciate if you can offer me some more information on the piece. How rare is a piece like this? Thanks, MW
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Hello Maestronet! I have quite a dilemna, as many of you know it is important to consider many things before making an informed decision. I have many questions for you violin makers out there both amateur and professional. I am 23 years old, and I am very passionate about the Violin. I currently am enrolled at a University in the Biology program. I love everything about the violin and enjoy messing around with different strings (probably have spent close to a 1000 dollars on different strings and just appreciating differences in strings and sound). I've also taken apart a few violins when I was younger (probably not very well) and just enjoy the shape of the violin also the new violin smell from a newly finished violin by a maker, you could say I have an obsessive personality. I am also looking into doing the Southern California Violin Making course as well as the American School of Violin Making. I have the neccesary tools, but lack basic woodworking skills such as sharpening. Also I have the Courtnall/Johnson book 'The Art of Violin Making' which is a good guide, but is a bit difficult to get started with just that. I also lack certain power tools that would make life a bit easier such as a band saw. I've looked around on the site for information but have further questions to ask. I have a few questions for you makers out there. 1. If you had the option to do it all over again, would you choose violin making and why? 2. Another question is, I am no longer on my own. I have a wife (in her final year of undergrad) and would like to one day have children, I am concerned with my capability to be able to provide the necessities for my family in the future. 3. The availability of apprenticeships or internships- Are they available and what does it entail? Usually how long do they last and what does life look like after graduating from a reputable Violin making school? of course there are other questions I would like to ask but these are the main questions I have been wondering about. I greatly appreciate any response and have enjoyed this board for many years. Aaron Towarak
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Hi guys. There's a violin listed in present Tarisio New York online auction: "AN ENGLISH VIOLIN BY THOMAS SMITH, LONDON, 1778" Since it looks strange to me - neck width at nut looks quite wide to me, purfling is a fake, as well as neck graft, head execution is rather poor - it makes me doubting if it's fully Thomas Smith violin. What do you think? Was it rule in that period for purfling to be fake? JM
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I recently purchased a violin from a small antiques dealer in Co. Londonderry NI, based on sound and how it looked. When I got it home I started searching and heard more about its (alleged) maker Bartolomeo Giuseppe Guarneri. The inscription says Joseph ''Guarnerius Fecit Cremonae anno 1726 IHS'' and there is a little cross above the IHS. My music teachers think it is real and i would love it more if it is. Thanks.
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I recently purchased a new violin and there are many things about it that confuse me. One is why the nut was put on so that it hangs over the pegbox. Was this a common practice during a certain time period or was this a sign of poor luthier skills? I have never seen something like this, and would love to be educated on information about if anyone can help.
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Long ago I purchased 100 black white black purfling strips, where the black was fiber. I think it was from International or Dictum. Does anyone know where I can get them in bulk, as opposed to 6 bucks for 3? Thanks. jbv
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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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Hi! I'm wondering if you fine folks might be able to help me with an issue that's plaguing my left hand. I've been playing the violin for about twenty years without any physical issues. In the past two years, however, my pinky has started to weaken to the point that I cannot place it down in first position without bringing my arm around much more than I needed to in the past. It doesn't collapse per se, but it's going down flat. I've been diagnosed with mild neuropathy, but I don't have any of the other symptoms, like numbness or pain. I've been to many hand therapists who say only that my hand seems on the weaker side, but I only notice the weakness on the instrument. In an attempt to accommodate whatever this is, I've unconsciously been adjusting my hand frame to the point that it's impossible to play with consistent intonation because my fingers are going down in unexpected places. Now it's also become difficult to place my third finger down with any accuracy. The problem is causing severe anxiety that is inhibiting my ability to deal with it. Do any of you have an idea of what this could be? I'd be so appreciative—this is giving me a great deal of stress.
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I was watching the Menuhin Junior Competition and came upon a violinist playing with red bow hair: I know that black bow hair can be used to better grab thicker strings, but is there any practical use for the red hair or is it just an aesthetic thing? Also what are the methods for turning the hair red? Thanks!
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Hey guys, First time poster here and while not new to music, rather new to fiddle. I recently purchased this bow and like the way it plays. It is about 64g and helps me a draw a phat, deep sound from my instrument. The person I bought it from told me it was German circa 1910 +/- a few years. I bought it as an unstamped bow. He wasn’t sure if it was brasilwood or pernambuco. However, upon closer inspection I saw the very faint remnants of a stamp. But I can’t make it out. So two questions, based on the pictures below, can anyone make out the stamp? And do you think this a pernambuco stick? Thanks for your help.
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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: -
Hi All, I could use some help with identifying a violin Branded Charotte à Paris. My best guess is Charotte-Millot, Joseph. It doesn't have a label, it has a brand on the upper block, and a stamp or brand in place of a label. The unfortunate brown overvarnishing on the lower portion of the top didn't want to move. Thanks for your thoughts, Moses
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I extracted this performance of the Rondo - 3rd mov. - from Wieniawski's first concerto, played by Michael Rabin in 1954 at age 18, from one of the longer 'unissued radio broadcasts' of his uploaded to youtube. Are you familiar with this piece? What do you think of this performance? Enjoy!
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What is your opinions on originality etc. I would like to know if it's real or what.
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Hello everyone, For some time I have been playing on a nice 1946 Anton Wilfer violin made during his stay in Mittenwald. Because I'm interested in the history of my instrument('s maker), I was wondering if some of you could help me out answering the following questions: Is there any information available on Wilfer's career other than in Brompton's Book of Violin & Bow Makers? It seems that Wilfer's later shop was renowned in the Montréal area. Is my violin (see link to pictures below) a typical example of his craftsmanship? Does his work fit in a specific school? Is this violin modelled after a specific maker (Guarnerius perhaps)? Many thanks! Sebastiaan Images: https://plus.google.com/photos/101761443817249546316/albums/6034926713765105169?authkey=CKaRyPGozcm39QE
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Hi people :-) I'm repairing a fairly old violin that I found in a local antique store. It's not very special, but it seems well built and I expect it to have a nice tone. Besides, I'm still learning. I've repaired a couple of violins before, but I don't want to work on anything too good yet. The top had two cracks. I glued the first one and it went quite well. The other one, however was more difficult. The wood had moved over time, so the crack was wide open and required quite bit of clamping to stay together in the right position. I set it to cure overnight, but one of the clamps must have gotten loose, because the crack is now open in the middle and perfectly closed in the sides. My question is: how do I remove the now hard hide glue in the crack that's preventing it from closing rather than holding it together? Will it be sufficient to heat up the area with a heat gun and reclamp it? would that daamage the wwood or the finish? I've tried scraping carefully with a knife, but it's not very effective, and I can't reach the "corners" where the crack goes from open to closed. I was also considering a damp brush, but I don't know if softening/removing the glue would take so much water I'd ruin the wood... Is there any good way to do this? And yes, I will be more careful next time with my clamping :-/
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I inheritted this bow from my grandmother, possibly purchased in the early 1900's. Can anyone identify the maker? It was bought in Argentina possibly from M. Viret, the luthier. Is it worth re-hairing?
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I came across this thing at «that auction site» and couldn’t resist putting in a low bid. It was said to have been in a box from an estate sale, meaning that I have no clue how old it is, where it comes from, nor really what it is. The decorated back is unusual, the varnish is horrible, the scroll is strange, the purfling (only on the back) is two parallel very thin cuts filled with glue? varnish? I guess it will become the victim of my repair attempts, and maybe one day it will become playable?
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Hi, I'm hosting a jazz violin and guitar workshop on Sunday, Jan. 28th in Los Angeles. All are welcome, even beginning improvisers! To get all the details and to RSVP, email: norafgermain@gmail.com Thanks and happy playing! Nora noragermain.com
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Long time lurker, finally coming across some interesting items. I came across a french bow from a violin shop that was very interesting to my eye and plays very well. It is a tortoise shell, gold mounted, with a "Y? V?" stamp under the stick. What do you guys think? Is this a legit bow or not?
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I bought a violin recently but i think it sounds very tinny and sharp when played. is there anything i can do to get a more mellow sound from it, like changing strings? i dont know what strings are currently on it. I just really hate the sharp tinny sound. Thanks
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Hi all and Happy New Year, I´m posting some pictures of a violin a bought about 10 years ago and sold to a friend of mine. The violin has came back to me again for re-sale and I´m wondering what it is since I never really had a clear idea about its origins. I bought it from a Ebay seller in USA for 1.000 USD and I find this instrument OK for the money; I´m quite sure this is an easily identifiable violin but I don´t really have an idea; it looks french for me but I´m not an expert not even a good amateur or connoisseur. So I ask for some help in order to know a little more about this nice violin. The label says Vistoli Luigi fece in Lugo 1921 but I don´t expect this violin to be italian Condition is very good apart of some retouching to front table around and under bridge and fingerboard. Thanks everybody in advance, Luis
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I've run across this item, donated by Harold Hayslett's family, and I suspect it is for wraping bows? If not, then what the heck is it? How is it used?
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Happy 100th Birthday Posted: Wed Dec 27, 2017 2:30 pm Post subject: Happy Birthday, Harold Hayslett Celebrated his 100th birthday yesterday, Dec 26. He's a resident of Charleston, WVA. After retiring as a plumber/steamfitter in 1980 he began making violins, and became a well respected cello maker. In the 1990s he was awarded a Gold Medal for Cello tone from the ViolinSociety of America. This fall, he donated nearly his entire shop inventory of partially completed instruments, parts, plates, wood, tools, to the Southern Violin Association. A large part of the collection can be seen at https://onedrive.live.com/?authkey=%21AN1D02eul9dOJbY&v=photos&id=72ABB1F447C6888D%2112911&cid=72ABB1F447C6888D Some of the nicenst items will be offered for auction at the SVA annual meeting and conference April 19-21 in Little Switzerland, NC. The remainder will be auctioned on Ebay afterward. If you want to be added to our mailing list (Southern Violin Association), or if you'd like to see a particular item or group put on ebay, please email me at davidwchandler@outlook.com
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Got a bow in for repair and re-hair from the local music shop. The wood of the bow I just discovered is cracked and the eyelet, which is slightly undersized has such thin walls that it does not hold when tensioning the bow hair. An new eyelet of the correct thread will not tread into the frog because the stem is also undersized by 0.2 mm. Easy enough (yes?) to drill out the frog to the right dimension for the new eyelet. A 7/64 drill bit worked well on a tes piece of ebony. But the width of the new eyelet needs to be filed down to fit the bow slow but at least 0.2 mm. Depth is OK so I can leave the height if the eyelet alone which is where the old eyelet failed. So my main question is is the bow crack an issue that needs to be addressed any other way that gluing with hide glue? Or would you use white glue? The store told me this was a $600 bow. I am reminded of the Pink Panther when Inspector Clouseau destroys this grand piano and the butler reminds him that is a "Priceless Steinway"... and Clouseau responds "Not any more"...
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