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Showing results for tags 'violin'.
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Hi everyone, I am looking for a violin to buy and borrowed this one from a friend, she said I can make an offer so I would like to know any information about it. I know it comes from one of Jerome Thibouville-Lamy’s factories, but since the label was removed, any info will help a lot. Thank you.
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anyone know anything from this maker, i just know its someone probably in brazil, but searching didnt found anything. doesnt have label WhatsApp Video 2025-10-08 at 19.38.16.mp4
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Hola, tengo este violín desde hace mucho tiempo. Lo encontraron en una casa vieja en ruinas. Me gustaría saber más sobre él, gracias. ¿Qué valor podría tener?
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I know this is such a micro topic, but in terms of different types of wood, such as Ebony, Rosewood and Boxwood, which wood has what characteristics to sound and which is better in general (boxwood in my city costs way more) and also, does a old German peg differ from possibly Indian or Chinese wood? Is it just a matter of seasoning? How do I test the pegs to determine if it is a good peg? My usual method is to gently flick it and hear if the sound is crisp. lastly, is mechanical other still inferior to manual ones in terms of sound? I have heard mechanical pegs makes the sound of the violin sound more artificial and less natural, so is manual pegs still better? Thank you in advance.
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Content (the first figure (001 etc.) refers to the page the second figure refers to the number of my own posts. 001-1.1 Part 1 Building the experimental super light violin ————————— 008.100.1 Part 2 Debugging the sound, birth of the model of the NEW CONCEPT VIOLIN 008-100.1 Outlining possible changes for eliminating the over resonance of the low strings Experimental alterations 009-104.1 fernambuko neck 009-105.1 diminish interior air volume 009-106.1 Doubling the linings. 009-109.1 The Bayon Bass Bar 009-112.1 first rib height reduction 009-113.1 cross bars at the top side c bouts 010-116.1 overview of the previous alterations 010-119.1 x-shaped bass bar 010-121.1 trimming the x-shaped bass bar 010-123. weight reduction at edge and other places coming down 297g 010-125.1 bent top plate arriving at lowest weight of 286g 012-135.1 description of main points of the new concept (at this stage) 012-136.1 flat walnut back 136.3 one string tailpiece 012-137.1 discussing main problems (too viola like sound) and further possible alterations 012-144.1 experiment replacing the back with paper 012-148.1 string angle adjustment 012-149.1 sound comparison test of four instruments including the NCV 013-150.1 comparison of same instruments for each string alone (G D A E) 013-154.1 new (arched) back 013-157.1 enlarging upper block massively 013-159.1 further adjustments with sound post, bridge and tailpiece 161.3 adding to the x-shaped bass bar two ‘legs’ pointing to the top and lower block 013-162.1 making a bigger lower block 013-164.1 building the arched rib garland, first convex surface for the top plate 014-170.1 making concave rib surface for the back 014-174.1 final result with mp4 sound sample which can be downloaded. 014-177.1 summary and outlook on future challenges —————————- 014 - 180.1 Part 3 Building the first New Concept Violin based on the experimental insights. ————— 001-1.1 This thread is about building a violin which doesn't follow a symmetric outline for ergonomic purposes. At the same time the weight was initially kept at the bare minimum to find out in which parts of a violin mass and accompanying stiffness is needed to produce a 'good' sound. 1.2 It was the idea that starting from unconvential patterns and working with a different concept would necessarily and automatically lead to failure. Thus this would have become additional proof to the idea that the violin seen as a concept of classical makers can't be improved. While this seemed to be true at the beginning, it came clear in the continuation of various constructional experiments, that a different construction concept at least seems to be possible. 1.3 As said, it was in the first place not the goal to produce a violin with 'superior' sound characteristics but while experimenting with the violin useful hypothesis were elaborated to link constructional features with various characteristics of the sound. Princples were tested and judged by playing the instrument as well as recording sound spectra for objective comparison. 1.4 Currently this project finds itself at the turning point from being merely experimental. (Andreas Preuss, Tokyo, 2021/5/11) --------------------------------------------------------------------------------------------------------------------------------------------- 1.5 Though the original introduction of this thread has outlived itself, I believe that the general mindset is still valid. Serious violin making must not always follow already explored paths and even if there is the risk of making something foolish, there is ALWAYS the benefit of learning from unusual experiences. Everything below is the unaltered original text of this thread: 1.6 Here you can follow me constructing the super-light violin. It will be the craziest thing I ever made and please don't take it too seriously. It is the violin maker joke from my workshop. But at least I am serious enough to make it the most professional way I can imagine. So following the footprints of Antonio Stradivari everything starts with a drawing. I decided to throw over board symmetry as well and came up with the funny design below. To save weight the length is only 351mm and all distortions follow the 10 percent rule which means that one f-hole is 10 percent longer than the other.
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I am interested in finding a buyer for a 2006 John Sipe violin. I am not a musician and have no idea how to price this. Any suggestions would be greatly appreciated.
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Dear Maestros, This is a violin I was given, the giver said it was a valuable instrument, can you help me identify it? Thank you so much
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Hello everyone, I am looking for a violin by George Gemunder Sr. and am wondering what the expected price would be. It's difficult for me to find accurate prices online as the range is very wide on auction sites and price history fails to show any recent sales. Could anyone tell me what an acceptable price range would be for me to pay (cheapest vs bordering on too expensive) for a Gemunder violin preferably in great condition, or perhaps point me to a resource where I could find such information? Thanks very much.
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Hi All - I have a violin that was given to me by my Great Aunt, in 1980. I played it until 1995, and then unfortunately it was "lost". It has been found and now I'm interested in learning more about it. I'm wondering if anyone here has some ideas of it's origins. I know we can't always rely on tags, but the tag inside says "Reconstructed by B.F. Phillips & Sons. Cameo Bldg, 5th Floor. Pgh, PA. Aug 1936. E.S.P." B.F. (Benjamin Franklin) Phillips was from Warsaw, Poland. His father and grandfather (last name Filipiak) both were violin makers. BF came to the US around 1905 (name changed to Phillips) and set up shop in Pittsburgh. My research indicates he made approximately 150 violins and he was known for making them from woods recycled from old churches or buildings. BF passed away in 1977, in Pittsburgh. I believe the initials E.S.P. on the tag are that of BF's son Edwin Stanley Phillips. I have not found a lot of information on Edwin, but I did see that BF's other son, Eugene Walter Phillips played with the Pittsburgh Symphony Orchestra for more than 40 years. I would assume that if this violin were originally constructed by B.F. then the tag would say "made by" rather than "reconstructed". However, I don't know what might be underneath the tag and I won't attempt to look. Assuming the violin was reconstructed by BF's son, I'm wondering about the origins of the violin. The only other information I have: I grew up in the Pittsburgh area. My Great Aunt was active in Pittsburgh orchestras, as was her husband. My aunt was from the Pittsburgh area. She married a man who had recently arrived from Greece. He and his adult siblings came to the US together and all were musicians. I don't know if the violin may have belonged to his family. The violin was given to me with a "Tourte" stamped bow. I KNOW it's not a genuine Torte. I'd love to learn more about it also and can upload pictures too. I have additional photos of the violin also or I can upload pictures of specific areas, if anyone has questions. Thanks so much!
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Hi, I am struggling to work out what my violin is prior to auction and was hoping to enlist the support of some experts! Below is the dendro report, which has produced unclear outcomes. Hoping someone could kindly provide their expert opinion. One thing is throwing me, Mittenwald violins are made with a one-piece bottom rib, which doesn't appear to be the case with this violin. Dendro Report: The belly is made in 2 sections, jointed down the middle. A total of 71 rings were measured on the bass side and 77 on the treble side. The grain orientation (tree-ring growth direction) runs from the edges inward on both sides. The tests were processed using the formula devised by Baillie & Pilcher for their 1973 CROS crossdating algorithm. This formula has been used by most professional dendrochronological software ever since. Results The most significant cross-matches with my database place the latest visible fully formed growth-ring on the bass side at A.D.1805 and a little later at A.D.1816 on the treble side. As the spring growth of the following year is just visible after the latest rings measured, one year needs to be added to the dates found, leading to an overall terminus post quem or earliest possible felling year of A.D.1817. A comparison of the plotted data on a graph shows very similar ring-patterns, slightly offset in time from each other. It seems clear that the 2 piece were recovered from the same tree. As the 2 sides are related, their data were combined into a mean chronology, which usually represents the general ring-pattern of the tree better than individual ring-series. The data were initially tested against published regional data from the International Tree-Ring Data-Bank (ITRDB). Several highly significant cross-matches were identified. The strongest results suggest that the origin of the trees is the central Alps. References from Switzerland, Kreuth in Bavaria, and southern Austria crossdated significantly. A good response was obtained against data from other instruments, with over 300 ring-patterns cross-matching significantly. From our database, they most significant cross-matches with the mean chronology (combined bass and treble side data) refer to the following instruments: A c.1840 Mittenwald violin, an 1870s French violin by JB Vuillaume, a 3/4 size Mittenwald violin of the Neuner school c.1860s, a violin attributed to the Panormo school, a Bavarian violin copy of Del Gesù, a c.1820/30 English viola of the Panormo/Furber school, a violin attributed to the "Marche" central Italian school, a c.1850/60 Mittenwald violin of the Neuner school, a French violin (Hill's import), a violin probably French c.1835/40, a Mittenwald Neuner violin , a c.1830 violin attributed to Italian school, a 1886 Mittenwald cello of the Neuner school, a 1838 French violin by A.S.P Bernardel, a c.1920 Italian violin by Leandro Bisiach, a French 1902 violin by Paul Bailly, an 1820 Mittenwald violin by Johannes Rieger, a 19th century Mittenwald violin, a c.1830s English cello, a c.1850/55 Mittenwald cello of the Neuner school, a c.1800 Bavarian/Mittenwald violin, a violin stamped "Goulding" possibly Mittenwald import, a French "Maggini copy, possibly Vuillaume workshop, a c.1890 German violin of the Dresden school, an English early 19th century cello probably by Joseph Panormo, a c.1855 Mittenwald cello, a c.1820/25 English violin by Jacob Fendt, a c.1890 Mittenwald violin by Neuner & Hornsteiner, an English viola of the Panormo school, a c.1840s Mittenwald Neuner violin, etc... The cross-matching tests identified correlations with instruments from a variety of origins, and it is therefore not possible to suggest a credible provenance for the instrument based on the results. Conclusion Essentially, with a dendrochronological or terminus post quem date of 1817, a making date from about the very early 1820s onward is possible.
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Probably going for violin papers while in Paris, maybe at Raffin, for this violin which I believe is from the shop of Giorgio Gatti, Turin, 1912. Pics attached are not so accurate in color and were taken before the violin was in my possession. The angled view of the scroll shows the color best. I think the violin will end up as "attributed to" , because the color and woods are very different from most later violins by Gatti. The stamp and its placements are exact, and several other things are right. I could find no online, Tarisio or other, examples from this period of 1912..which was just after the World Exposition in Turin. My questions concern getting papers, something I never tried before. Is there a way to avoid spending too much...for example would an appraiser give a preliminary opinion ? Thanks in advance for any advice...
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Dear Maestroneters, a student of mine bought a 3/4 bow that had been with the previous owner for 60 years. We would like to try to identify it, it only has france written on it and it looks quite old. What would be its value to you? I have a comparison video between it and a 4/4 carbon fiber bow and a 4/4 wooden bow. Carbon bow between 256BRL to 400BRL(45$ to 70$) for us it's intermediate begginer bow. Wooden bow is from Massaranduba wood 58$(Brazilian Redwood or Bulletwood) also a intermediate begginer bow. The link for the video: https://photos.app.goo.gl/Ac7TBhyiR52iuTTb7 the video its here now, with english subtitles(would be easier recorded in english but ive forgotten) Comparativo entre 3 arcos.mp4
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Hello, how are you all doing? I would like to ask for some advice, if you don’t mind, in the area of teaching methodology. But first, I need to give some context so you can better understand the situation. Context: I learned to play the violin at church. I’ve been playing in church since I was 9 years old (I’m 23 now). By the way, the church is called Congregação Cristã no Brasil (Christian Congregation in Brazil). And obviously, since it’s all done on a voluntary basis (in our church, no one gets paid), both for those who teach and those who play, the teaching methodology may not be the best. Basically, we had a general violin technique book (Schmoll, Lambert, Laoureux, Suzuki) and a book with the church hymns (Hymnal). I went through all those books and a few more, mostly because I spent a long time learning. But nowadays they want to stick to the Schmoll method (they’ve made some modifications to it and added some Hans Sitt pieces — I’ll add a link below in case you want to check it out). The general approach is to start with the method book (teaching material), and once the student begins to understand notes, they start learning hymns. Unfortunately, there are very few instructors (we don’t call ourselves “teachers” because we are not formally trained), and most of them don’t assign anything to study outside of these two sources. Now that I’m an instructor myself, I really want to help my students in the best way I can. I teach students of all ages — from little kids who can’t even read yet to older brothers who are married with children — though most of them tend to be children and young people. I’ve never had face-to-face lessons with a professional teacher — just a few tips here and there. I even tried online lessons, but they were too expensive for my financial situation, and the teacher would mostly just ask for videos and then reply with written feedback. It helped, but not as much as I’d hoped. Still, I was able to get an idea of what a methodology looks like, because he assigned Sevcik and some beginner-level concertos to practice. The Problem: At church, the teaching works like this: for example, in my case, on Saturdays at 2:00 p.m., our musical study group starts. Ideally, all students should arrive at the same time, and then I go over their lessons in the order they arrive. I usually spend about 30 minutes with each one to really help them. To avoid having them come in “cold” when it’s time to play their lesson for me, I usually ask them to do: stretching, a right-hand exercise and a left-hand one, open string exercises, then to review what they’re going to play, and also, after the lesson, to briefly(15min) review at church what I just taught them — to help them retain it. But I’d like to improve all of this — I just don’t have a solid foundation to build on. I thought about changing it so instead of doing the full 30 minutes with each student right away, I’d spend the first 10 minutes checking what’s missing in their current study and then ask them to work on that while I check on the others — and then later come back for 20 minutes to work on what’s left. But when I tried that, it felt like I ended up taking more time overall. I’m open to any kind of advice, links, videos, books related to technique, methodology, or anything else you feel might be important. Also, I’m about to start giving private lessons today. I have some idea of what to do, but I’d appreciate any tips on that as well. I’m already very thankful to anyone who’s willing to help me — may God bless your life and your family! In anex: Actual book used for teaching violin Book of Hymns that we play at church. List of things that i suggest my students to do at home, i created it. www.CCBemPDF.com _ Hinário Nº5 CCB para Cordas.pdf MÉTODO de Violino - CCB Schmoll.pdf SchedueleViolin.pdf
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Hello, I have an old Despiau bridge made C (one tree), which once warped, and I straightened it using a clothes iron (I saw a luthier do this with a wooden bridge). However, I was wondering if there’s any kind of heat treatment or similar method I could use to make my bridge more resilient. I thought about straightening it again with the iron and then quickly placing it in the freezer. Perhaps rapid cooling could help it stay in a firmer position. What do you think about this? I will eventually replace the bridge, but I need to raise my fingerboard as it’s currently too low. By the way, do you think it’s a good idea for a beginner (whose "teacher" is the internet) to attempt raising the fingerboard themselves, or should I go to a professional luthier?
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I think you guys have already thought about that but Should Bridge have different thickness for each string? You know Different strings, diferent vibrations, different tensions What do you guys think?
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This violin , bought in Colorado, has no label. It looks like a nice newer Italian instrument. I will not actually be able handle the violin for 2 months (while in France). I am wondering what clues might narrow down the maker or city . The whiteness of the dings might indicate a very thin ground or a spirit varnish ground? It seems there is a ground looking at the scroll etc. Perhaps the scroll has something distinctive...I am not knowledgeable enough on scrolls and makers. The F holes have blackened edges, but nothing else is blackened. Any help much appreciated. https://www.dropbox.com/sc/1xctgpse3cgutw8/AAAN9sB8xNBzr5YyfntoPLgJa
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Hi everyone, I have a violin made by Georg Krywalski, probably around 1910. It hasn’t been played in about 5 years but is in good, playable condition. I’m looking for more information about the maker and a rough estimate of the instrument’s value. Any thoughts or comments would be greatly appreciated! Photos are attached below.
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Can anyone help me briefly evaluate this Guarneri del Gesu copy by British maker Earle Hesketh in 1939? Thank you!
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Hello Guys, since here, for me, looks like has more people i would like to share my topic of teaching if someone has anything to help im very grateful. God bless us all!
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For those who have seen my posts, you already know I'm very new to violin making, but am enthusiastically enjoying the frustration and the challenge. I'm going to pretend my 1st attempt at building a violin doesn't exist, as I would be embarrassed to show the disaster it's turning out to be. We'll call this next one "1a" I guess, and I'm optimistically assuming this one will be better. For this first (non-existent) violin, I built my form based on a photo of the 'Forma PG'. I didn't realize however until after building the rib structure and cutting the outline of the plates, that this photo has the distortions inherent in all photos... never the less, it is and was a tremendous learning experience simply building an instrument... er, if it would have existed. I intend to soldier on until it's complete, before casting it into the fire never to be heard from again. I would actually keep it as a reminder of my venture into the world of violins if it existed. For my next 1(a), I have used the 'Forma P' Frankensteined together with the 'Forma PG', and I've made so many adjustments so many times, for now we'll call it version 3? At some point I just printed it out and used it as I could meddle with things forever. The second is the Strad 'Forma P' sort of "as is". I've taken the forms from the "Forma by Addie" and tweaked them to a degree in Adobe Illustrator. To smooth out the dings and bumps, as well as to tweak the block sizes I guess to something I think might be ok, though I have no idea what a good neck block for example should be. I'm going to call it roughly 60mm X 18mm. Hopefully it will work. I've also squared up the corner blocks, though now I see how angling them could assist in getting the grain direction correct. I've messed up two of the P corner block angles, but I've glued a thin piece of "extra" (broken) rib to straighten things out on one at least. My Frankenmould which I'm calling my A mould, is built using a walnut plywood (roughly 12mm thick or 1/2in), because of course using walnut moulds is I'm sure the secret of Stradivari! I've used double sided tape to stick the printout to the wood before cutting it out, hoping that it will not deform as a wet glue might do, though the plywood isn't as truly flat as I would like. My P mould is made from actual walnut lumber, jointed to produce a handy, permanent centerline. This is roughly 14mm thick, I say roughly because I did the old fashioned hand plane thicknessing from 4/4 dimensional lumber and it's probably not as precise as I would like. For this I taped down the printout, and very carefully scribed the outline with a knife, hoping this will hone my skills for purfling later. It seems I may have trouble with putting in both sets of linings with the thicker form, but I'm sure I can get through it somehow. I've maintained the asymmetries from the forms, as I don't feel qualified to 'fix' Tony Strad's work, and I actually believe them to be purposeful. (I do have some ideas about disproving this wild theory in the future... once I can actually build something worthwhile.) I've already jointed the backs for both instruments, the first (for the P), I may have gone a little thick with the hide glue and there seems to be a bit of a visible glue line. I did also pretreat the joint with hide glue before glueing. I did the same with the second (Frankinmould A) but a slightly better job of it so not the seam like the first. I used my trusty Lie-Nielsen rip saw, which I love and works very well. Though my concerns about the blade width and tonewood dimensions might lead me to try and make my own rip saw for this purpose. For now that would interfere with making progress on my violin(s) so that's a future project. I do have a frame saw, with a presumably thinner blade, but I'm not as confident or comfortable with a frame saw, particularly for book matching expensive tonewood. For these backs I'm still over 20mm thick, and only seemed to lose about 1/8in (3mm) from the sawing, so it's fine. I have my rib wood selected, though I wish they matched more closely the wood from the back and neck... not sure how often tonewood suppliers actually give back, neck and ribs from a single piece of maple. Incidentally I got this particular tonewood (p) from https://www.tonewoodforviolin.com, and for the Frankenmould, from https://www.internationalviolin.com. I do like seeing and selecting the wood from the websites, though I'm not sure I know what to look for. I do prefer a broader, random flame pattern to a tight and consistent one, but I do like both pieces. I didn't measure the density of the back for this project, but will in the future. The tops (not yet jointed) are .38 and .40 respectively. The lighter top has a couple of darker lines along it's length. I'm not overly bothered by this but I wonder if it could be lightened somehow. I've also accumulated more tools than I have found places for, so my bench is more often a disaster than a good working environment, but I'll try to hide the mess from view when sharing photos of my progress. With any luck, I'll at least learn some more lessons about 'what not to do'... and eventually the 'what to do, and how to do it' will be all that's left! Hopefully I don't destroy too much tonewood in the process. This will take a long time as I'm not afforded many opportunities to get in the shop these days, but I truly enjoy the work and hope that I can get to the bench as often as possible. My Frankenmould is attached for those interested... I realized after the fact that I can't cut out the block templates if they're adhered to the mould... Frankenmould-A-v3a.pdf
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Hi I’m new! I want to buy a new violin. I don’t think this is an actual Maggini but a 19th century copy but as I’m new to this I would like your expert opinions. I wanted to know how much this Violin could be worth?
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바이올린의 제작자는 알 수 없는데, 라벨이 없기 때문이다.(바이올린의 뒷면은 옅은 불꽃단풍나무이다 ) The violin's maker is unknown, as there is no label. (The back of the violin is pale ash.)
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No label. Maybe someone could id it. Thank you.
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Recently i bought 3 violins in germany and it would be nice if someone knows something about one of the violins i got. Its a Joseph Guarnerius and has 3 tags inside. The backside is wonderfull and i assume the wood is birds eye.
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Hello everyone I'm hoping someone could give me any information on this violin was purchased at a wealthy estate sale no information was given no markings or labeling other then a sticker I'm assuming was from someone who serviced or retailer but I'm not sure any info and value would be greatly appreciated Thanks in advance Adam
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