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Thread: Repair Estimate too High?

  1. #26
    Moderator MikeEdgerton's Avatar
    Join Date
    Mar 2007
    40.1646 N, 74.2083 W

    Default Re: Repair Estimate too High?

    The OP says it's an AC, I have to assume it's labeled. I'd love to see the pictures.
    "Bargain instruments are no bargains if you can't play them". These are the words of J. Garber.

  2. #27
    Registered User
    Join Date
    Nov 2002
    So Oregon

    Default Re: Repair Estimate too High?


  3. #28

    Default Re: Repair Estimate too High?

    I've been entering the world of Bowl backs because exceptionally well made instruments are available at ridiculously reasonable prices from time to time. They all need work, but I'm slowly managing to understand and fix them to the point where I'll be able to offer a few up for sale at some point. They do not sell for much, even when fully restored. I did see a traditional music store in Washington DC offer a range of vintage high quality bowl backs in the 1000-2000 range several years ago, but I couldn't speculate on sales. I sold one low end student model rRegal in excellent shape for 125.00 a couple years back, but that's it.

    With that in mind, I think the costs listed are excessive, though I'm not surprised to see them. Repair prices can be quite high in urban areas. I just checked a neck re-set price while figuring a bid on a damaged instrument and found price ranging from 350 to 750 for the same work, just at different locations (750 was Chicago). What I refer to as "production" repair shops (full time repair shops that are a business) are primarily out to make a profit, a perfectly fine idea, but most won't want to put in the amount of time for a complex repair on an instrument that aren't used to working on. My main luthier's hourly bench rate is 70.00 an hour and he's worth every penny! That being said, I wouldn't bring something like this to him. I expect he'd turn it down.

    I posted on this forum several years ago about a beautiful Bruno Bowlback with a real mother of pearl fingerboard and an intricate Brazilian Rosewood back. Frank Ford jumped and mentioned he called the "black holes". He was right... year's later, I'm still working on that one!

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