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rgwebb6

How many have you made without trying to sell

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I am curious. For those not in the business, how many violins have you made to date without trying to sell any? And do you buy a case for each one, or hang them on wires or pegs, or set them on edge in a case, or...etc. I have three 4/4's and two 3/4's all in cases, but this cannot continue. Maybe I'll try selling future builds or just donate them to the local schools.

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i have made 8, but gave two away, and use one, one viola and one viola d amor,. the other three just hang around , I don't mind them hanging in the shop. The area I live in is pretty much a violin and cultural desert , no strings in the schools. three hours away is dc, balto,philly, so if anyone wants something good they go there. I took a loooong break and now gearing up again the goal is to make a better sounding one for myself. I have enough room, wood and all for about ten more, in the end they will all probably be given away or sold cheap.

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I went about as far as you, and began hoping to sell (actually, my fourth instrument, a 420mm viola, was my first sale), but to date have made sixteen, and have six violins, four violas and a cello cluttering my space. One viola was given away, two were sold; one violin and the bass were sold. I have six more on the bench (four violas, one violin and a five-string fiddle), so something has got to change. :)

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I have sold 3 out of the first 4 completed. My intent was always to sell on the first ones, but I thought

at some point I'd keep one for messing around on myself. That will likely be the one hanging

in my shop, still in the white. I wouldn't feel right about selling it, at least not for my usual, when I think

of what happened to the top and the repair that it required. ohmy.gif.

If they aren't being transported at the time, and are in a relatively safe environment, then I'd forgo the

expense of the cases.

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Thanks for the answers posted so far. But I am sure there are more amateur makers out there that made one and then got bitten by the bug and had to make another and another just to see how it would turn out. This is probably especially true if you enjoy playing them after they are finished. I find it hard to even consider selling the first two. But number three would not be that hard to part with. And space for them is, or soon will be, a definite problem.

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In art school they tell you to destroy all your early works so they don't come back and haunt you later in your career.

I have a dozen or so experimental violins hanging around that I learned a great deal from.

The problem is to fully explore a theory you have to go too far just to see what happens.

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I have made seven and and they are all hanging on a string by the wall. The first couple aren't all that great, and the next 2 I din't put enough varnish on or something. I figure those are student ones, with a teacher that was busy doing something else! The next 2, the Old Bull and Montagnana aren't too bad. The Montagnana may need a stiffer bass bar, I was under the impression that a high arch didn't need much of a bass bar, but I think it is too weak. The last one, the Titan, seems to be the best of the lot but I haven't got strings for it yet, been playing with other stuff. Even that one I messed up the purfling some. I need to get better at fixing the mistakes instead of just hacking them when I mess up. I think I finally know what I'm doing, and they go fairly fast, if I had a family member to carve the scrolls. Sooner or later I'll start making them without mistakes, and those I'll sell. Notice I'm still making them, I have plans to build 2 violas, 2 more violins, and the Guad cello looks cool (but the poster is out of stock). I think I'm getting like Chet!

Ken

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In art school they tell you to destroy all your early works so they don't come back and haunt you later in your career.

I have a dozen or so experimental violins hanging around that I learned a great deal from.

The problem is to fully explore a theory you have to go too far just to see what happens.

Something like where I am currently. Sold 1, built 7 with one on the way, and not trying terribly hard to sell anything, yet. About half of the ones I've built have been used for more experiments and re-varnishing, to see if I can improve the sound or the appearance. I've definitely been going to the extremes in the wood I've been using, at least on most of them.

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I have made 10 so far and sold none. With all the time and TLC devoted on making an instrument I would be loathe to sell them,and secondly I would be hard pressed to recover my inital cost so I gave each of my

seven children one,this way my sentimental attachment can be mantained.The other 3 hang with the rest of my collection.------Happy NY to you all. Henry

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the two on my web sight are both sold. out 5 violins and I have a viola on the way! I have a thicker version copy of the millano strad that has not sold. but it sounds great. My first one looks terible, the second one did not look much better other then the eagle head on it. but that one was for my Dad (he is an eagle lover). Evan had an eagle head that looked much better.

Love to know how many David Burgass has made to date. B)

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In art school they tell you to destroy all your early works so they don't come back and haunt you later in your career.

Donbar, do you mean that your early art work, if put on the market, may ruin your reputation as an artist (or, in this case, a luthier)?

Or do the early works destroy some sort of mystique, revealing how the artist progressed to the point of better works?

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I've made over 60 and have never really tried to sell any. The first 15 or so are not for sale. The mid range ones have been bought sporadically, the last 20 are mostly gone except for a few that I'm keeping for myself. I've long since given up on making one without mistakes.

I keep two in a case, the ones I'm playing currently. The rest that are still here are on shelves or leaning against something. Oh yeah, the double case is home made, not bought. I do buy cheap cases for the occasional sale.

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