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Prices charged for ameture hand made work.
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Michael Darnton
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PostPosted: Fri Oct 19, 2012 7:41 am    Post subject: Reply with quote

Any amount of money you can imagine, from anyone after the start of the Industrial Revolution.
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Joseph Leahy
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PostPosted: Fri Oct 19, 2012 10:49 am    Post subject: Reply with quote

Michael Darnton wrote:
Relative to Ernie's comment on wanting a violin that's open and accessible; that's a quality I like, myself. However, once I was showing a violin I was particularly fond of to a Chicago Symphony player who was in the market for a violin. It had that open accessible quality, and after playing it for a while she commented that though it was very easy to play, she felt like the violin was telling her how to sound, and was resistant to anything she wanted to do. She said the violin's own enthusiastic nature (that I liked so much) was overpowering her intentions. I made a quick adjustment to close it down a bit, making it a bit more obscure, and she liked it a lot better, feeling that it wasn't telling her what to do as much as before, leaving her with a wider path of options. The adjustment wasn't enough, though, and she didn't buy it. Finally it went to a really advanced conservatory student who might now be growing out of it as he gets better.

That's a similar reaction to Heifetz wanting the violin to do what he told it to do, not the other way around.


Understanding that the qualities of the violin are made up of the whole (wood, arching, neck set, bridge etc etc) how much of the qualities of the instrument that you are describing (ie: perhaps not so open but one that Heifetz or another pro would prefer) do you think comes from thicker vs thinner top plate graduations.
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Michael Darnton
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PostPosted: Fri Oct 19, 2012 11:01 am    Post subject: Reply with quote

The way I'm currently making, the major thing that gets affected by thick vs thin is the power curve of the instrument, and response is a matter of arching. For me a lot of the tonal characteristics are a matter of where I put things thick and thin and setup, relatively, not the gross thicknesses overall.

I know, however, that if the arching isn't correct, that making a violin thinner will make it easier to play. But if you need to thin it to get response, that's the result of errors in arching and you're throwing away other potentials if you have to thin a violin to make it work, IMO.
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Canuck
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PostPosted: Fri Oct 19, 2012 12:24 pm    Post subject: Reply with quote

This very esoteric thread probably has no place for a fiddler. In other words, someone who is by no means a luthier. But I have three friends who make violins. I have had the opportunity to sample their various instruments, and there isn't one of those instruments that I would swap for my main instrument. Many fiddlers whom I meet with have tried this violin, and anyone who tries it, remarks at how the tone and responsiveness agrees with them. Including two of the three violin makers who have tried it. In fact, one person who tried it, and who is a professional (not a luthier or a symphony player), and who tells me that her instrument cost her as much as a house, has commented on the sound she gets from my violin. The Internet blurb I read on this maker (Collingwood) indicates that their main forte' was "concert" violins.

During a recent visit to the store where I buy my strings, I was given the opportunity to sample a French violin with a $ 20,000 price tag on it. To be honest, I wouldn't have swapped them straight across for mine.

From the sound of things, this violin wouldn't likely receive a second look from a professional symphony player. But it pleases me.
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actonern
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PostPosted: Fri Oct 19, 2012 8:57 pm    Post subject: Reply with quote

Canuk:

Good to read your story... the secret of happiness, they say, is to be content with what we have... you seem to have found it!
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ctviolin
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PostPosted: Sat Oct 20, 2012 10:37 am    Post subject: Reply with quote

Canuck wrote:


This very esoteric thread probably has no place for a fiddler. In other words, someone who is by no means a luthier.


This thread is exactly the place for a fiddler.
The "fiddle" encompasses a huge portion of professional violin players, (in fact it is the only music I play also) probably more fiddle players around than classical, number wise.

Canuck wrote:

During a recent visit to the store where I buy my strings, I was given the opportunity to sample a French violin with a $ 20,000 price tag on it. To be honest, I wouldn't have swapped them straight across for mine.

From the sound of things, this violin wouldn't likely receive a second look from a professional symphony player. But it pleases me.


Yes, I have had similar things happen also - Once I played a 60,000.00 Italian violin that had come in as a trade for a higher priced Italian violin, (at the shop where the guy who taught me how to re-hair bows works) - and I will tell you - I've played many many violins and I was not very impressed with it's tone either.

Though, I will admit, it was beautiful. (as far as looks goes)
there are very many old Italian collectable violins, that do have a great tone. But personally, just between us, (ha ha!) there is a fair amount that just sound adequate, or not extraordinarily out of the ordinary - tone wise...
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Last edited by ctviolin on Sat Oct 20, 2012 12:05 pm; edited 3 times in total
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Michael Darnton
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PostPosted: Sat Oct 20, 2012 10:47 am    Post subject: Reply with quote

Well, this kind of thing is why I no longer trust my own taste. If players who are much better musicians than I am prefer something different than I do as their tool, who am I to question it?

To put it in context, in my classes I often have a very hard time weaning beginners from Exacto knives. They don't understand why a real knife is better until they have really learned to use one well, which is something that doesn't happen right away. Are they right about Exacto knives? No, of course they're not. But at their skill level, not having to sharpen is more important to them than having a tool that does the job better. If they keep believing in their own taste, and many do, they never learn what a better tool is capable of in the right hands.

When I was being trained, I was taught to look at what people better than me were doing, and try to understand it and learn from that. That's the only way to learn and get better. Being inspired by your own knowledge and standards is the one sure path to becoming second- or third-rate, and staying there forever.
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ctviolin
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PostPosted: Sat Oct 20, 2012 12:15 pm    Post subject: Reply with quote

Michael Darnton wrote:

Being inspired by your own knowledge and standards is the one sure path to becoming second- or third-rate, and staying there forever.


I'll second that.

Hopefully, I can eventually step out of some of my own shortcomings...
Oddly enough, it took this recent stroke to really wake me up out of what I had decided, for years, was "good enough" workmanship wise on my own violins.

Really, its not where I want to stop - even though it is a twenty year long "habit" of essentially what amounts to artistic "lazyness".

ahhh, eventually.
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Lemuel
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PostPosted: Sat Oct 20, 2012 2:18 pm    Post subject: Reply with quote

Ha, Ha, I find this pretty funny....

As luthiers , the both of you are saying not to trust so much in your own tastes, knowledge and standards, and here I'm after entering the luthier world saying to myself as a musician not to trust my own tastes, knowledge and standards.....
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Michael Darnton
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PostPosted: Sat Oct 20, 2012 2:51 pm    Post subject: Reply with quote

Well, I don't advocate trusting just anyone. There are a lot of violinists I wouldn't listen to. The most useful ones are the ones that (1) have had the opportunity to play a lot of violins and (2) are really, really good players.

That's the reason that the person playing the violins on Bein and Fushi's Miracle Makers CD is Elmar Oliveira--he's and great player AND an semi-amateur dealer, and gets to play a lot of different violins in the course of that, so he can adapt to a new violin really quickly.
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Lemuel
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PostPosted: Sat Oct 20, 2012 4:20 pm    Post subject: Reply with quote

Yes, you've definitely made a good point. I've listened to the CD before, and I agree...Elmar is a really a great violinist.
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Chet Bishop
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PostPosted: Sat Oct 20, 2012 5:49 pm    Post subject: Reply with quote

"Look at what people better than you are doing: try to understand it and learn from that. That's the only way to learn and get better. Being inspired by your own knowledge and standards is the one sure path to becoming second- or third-rate, and staying there forever."
Michael Darnton

That is a great quote, Michael! It is applicable across the board in life, and parallels Joseph Heller's famous quote: "Try to learn from the mistakes of others; you can't hope to live long enough to make them all yourself." (Catch-22)
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Michael Darnton
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PostPosted: Sat Oct 20, 2012 7:00 pm    Post subject: Reply with quote

Bob Bein's advice to me was to always attach yourself to something better than you, and try to be that.

Hang with smarter people than you are, make your shop look like the better shops you'd visited. Dress the part you wanted to be, not what you were. Better to be the small fish in the big pond, striving to be big, than the big fish in the small pond, with nowhere to grow.

He tried to mimic the look of Wurlitzer in 1960 for B&F, which included rotting windows with peeling paint that he refused to repaint, because that's how Wurlitzer, the best shop in the world at the time, was, so you can see how far he took it.
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johngia
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PostPosted: Sat Oct 20, 2012 7:22 pm    Post subject: Reply with quote

When I was still a productive member of society <g> in the work world, I used to tell my boss that I didn't want to be the dumbest, or the smartest person on the team --- be somewhere in the middle. I want to not only learn from the smarter ones, but be a teacher to the less experienced.

"Hang with smarter people" --- try to be like them. That's why I lay my inexperience on the line and post here.
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ctviolin
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PostPosted: Mon Oct 22, 2012 12:44 pm    Post subject: Reply with quote

Thanks everyone for making this an interesting subject.

I'll cop to it myself now.

My own price is now $3,500.

When I first started making them, my price was $350 - $500...

Thanks again for all of the responses.
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