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Slab cut cello


Buko
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5 hours ago, martin swan said:

Surely both are (fakes) by the same maker ...?

Different f-holes but same model, workmanship, purfling, varnish and apparently arching

I'm amazed that Martin Swan can pick that up from such terrible photos, but people like he & jacobsaunders are pretty amazing. Why don't you take some better photos and post them? If you're not sure about how to do that, Rue provided an excellent sticky article about how it's done.

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7 hours ago, Al Cramer said:

I'm amazed that Martin Swan can pick that up from such terrible photos, but people like he & jacobsaunders are pretty amazing. Why don't you take some better photos and post them? If you're not sure about how to do that, Rue provided an excellent sticky article about how it's done.

Thanks for the compliment but Peter pointed it out before me ... 

And all without the aid of his special skills too!

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15 hours ago, Flattmountain said:

I’m inviting you to explain yourself as to why you feel your argument is valid and helpful in this setting 

 

13 hours ago, plasterercaster said:

setting=violin making forum

validity=very important for violin makers to analyse and question images, and the text which accompanies them

How do you know who flipped the image first?

Your move, grasshopper

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22 hours ago, plasterercaster said:

setting=violin making forum

validity=very important for violin makers to analyse and question images, and the text which accompanies them

How do you know who flipped the image first?

Your definition and mine of valid analysis differ greatly.
 

The OPs question was on everyone’s opinion on slab cut cellos… your “analysis” was a snarky comment on the supposed asymmetry of said cellos (which is, by the way, a common logical mistake called red herring). I then pointed out the fact that there some lens warping, and you chose to go on by editing the image in your favor. (Generally people like the op don’t waste time with gimmicks when asking for opinions on a forum like this. He would gain nothing.)
 

my question is, what are you personally gaining by this completely irrelevant debate, other than a lesson in effective reasoning? Keep in mind that you have taken the topic far from the qualities of slab cut in instrument making before using “violin making discussion” to your list of validations. 
 

your move ladybug

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2 hours ago, Michael Darnton said:

@martin swan No. Usually they look like scraps gathered off the floor. One years ago was eight pieces, all different. I would think that if you were going to take the care to find a matching piece (from the other side of the same log?) you'd have the resources to use a normal top, right?

Yes, you would think ... :lol:

To make a slab cut top with two bookmatched pieces seems like a major misunderstanding.

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Interesting  exchange between M.Darnton & M.Swan. I read postings here a lot because I'm interested in learning how to actually see these instruments, and these guys are masters. 

My question is: in the OP pictures, isn't the left instrument a single piece back, and the the right instrument a 2-piece back (which do look they're bookmarked, which I think I understand why that's weird, because if the log was thick enough for a single piece slap cut, why would you split it?). 

The other things I was wondering about the split-back right instrument concerns the button. It looks like split is canted so that the button is part of the left side. Is this something people used to do?

Many thanks to michael & martin and sorry if I'm bothering you with stupid questions.

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7 hours ago, Al Cramer said:

 

My question is: in the OP pictures, isn't the left instrument a single piece back, and the the right instrument a 2-piece back (which do look they're bookmarked, which I think I understand why that's weird, because if the log was thick enough for a single piece slap cut, why would you split it?). 

 

I was referring to the tops rather than the backs ... I've just never seen a bookmatched 2-piece slab cut top on a genuinely old instrument. It seems a very strange thing to do unless you have no understanding of the tradition you're trying to fake.

 

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