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  2. Dear experts. I have this old violin which has a very dark varnish. The violin looks nice: it retains its baroque neck, saddle and fingerboard. Purfling is painted. I even think it has never been opened. Built with the ribs inset on the back and a through neck. But I am not sure if the top thick coat of varnish is original and it has become dark or is just a later coat of paint. The ground is of a very nice golden color so I don't know why it had been hidden. To me it is completely original and I should preserve it. Can you help in suggesting if I should leave it as is? Thanks in advance
  3. Today
  4. bidding on the bow maybe? yes nice blanket
  5. Thank you Mike. I was hoping to save at least on shipping from the UK. I have bought from the shop in the past.
  6. This is where I got mine. https://www.thestradshop.com/store/thestrad/antonio-stradivari-titian-violin-1715-poster/
  7. ...in the blanket, and while the instrument looked decent enough, $2,500 seemed a bit too much of a stretch: Nice blanket...
  8. Violin necks are usually bare or very lightly treated with some special sauce (oil or other). Violin players do not like glossy necks because they stick.
  9. I’m a luthier in training, and my eye isn’t that trained, a friend of mine’s grandpa passed away at the ripe age of 100 he was a musician and he lived in Serbia. He has an interesting looking violin that is unlabeled. The work looks Italian with a bear claw maple back but my luthier eye is still in its infancy. I hope you like mined people could assist me with telling what region it was maybe built in. If I’m wrong about my hypothesis about it being Italian, please let me know why I was wrong. Thank you.
  10. Hi all, I've posted photos of this violin and those who chimed in suggested it was a German postwar factory violin. The dating came from the spray antiquing on the top. So postwar makes sense to me. But I've read that the German industry went into steep decline after the war. I've also read that in the fifties and sixties a lot of inexpensive violins were built in (then) Czechoslovakia. Looking at photos, I've seen more Czech than German violins with this sort of top coloration. So I'm thinking this is likely a Czech-make violin. I don't expect anyone to make a positive identification but I'm wondering if my reasoning seems sound. I'm a fairly new old-time fiddler, by the way, so the instrument suits me well.
  11. A distribution does not have to be pre-coded. It can be developed by the machine programed to learn from large data sets. That is part of the point. Human beings can't predict what that distribution is going to look like. The quants who built the software for the ultra-successful Medallion Fund said that they ultimately could not explain why their software executed the trades that it did; all they knew was that it was wildly successful. But before they built it, all the security traders told them that a computer could never beat a human being at trading, and they were wasting their time. But in the end, they built an application that learned to identify and execute successful trading opportunities from huge amounts of data, which beat all human-managed funds by wide margins. The human beings who wrote the application couldn't tell you what their application was discovering through regression analysis and learning to trade on; they only knew that it worked most of the time. The rest of your paragraph regarding machine errors due to rounding errors and technical challenges is all true, but human brains are also subject to their own operational challenges such as lack of sleep, low glucose levels, low oxygen, etc. We can also be inspired by random inputs, such as Isaac Newton's famous apple falling from a tree. Probably not. It seems to me that the fundamental thrust of your argument is that machines can't be "intelligent" because they don't have conscious volition, and they don't have volition because they are designed, built, and programmed by humans, who do have conscious volition. And even if AI machines appear to have conscious volition, it can only and forever be a simulacra. Do I have that right?
  12. Scroll asymmetry isn't necessary bad or wrong. Wabi Sabi, baby. But yeah go wild on this thing, just enjoy.
  13. Hi Don. Thank you for pointing me out to this information. I would nevertheless still like to have a copy of the poster, even if folded.
  14. I appreciate all the feedback! as far as what’s “wrong” with the violin, I attached a picture of some varnish blemishes and where the scroll isn’t symmetrical. The fingerboard is also not exactly flush with the neck, and the neck itself feels dry like it doesn’t have enough varnish on it. I want these violins to be beautiful players, but I don’t NEED them to turn out. I’m just trying to get experience without wrecking a nice violin.
  15. That's true if one or more coded parameters are randomized, i.e. the machine is coded to take one or more random draws from a pre-coded distribution. Unintentional causes are built-in error due to the finite number of bits in the hardware numeric representations since overflow is typically truncated. Monitoring significant figures is an easy way to avoid this kind of thing. A similar effect can occur if there's electrical noise that flips a bit or so, and communications devices have error-checking code, with checksum as an example. If we want identical results for identical inputs we leave out deliberate randomization, put in code to avoid truncation error, and use effective error checking code. I guess we could also consider that if the hardware isn't radiation hardened (part of which is error-checking code) it's still possible for ambient radiation to cause the occasional glitch as well. I don't believe most AI has much concern for this except in some defense (or financial lol) applications, and will tell you that the computer's calculation of the product 3.14159x1.75883648099854 is accurate to at least 15 significant digits. Within the bounds of truncation error, in a low-noise environment, identical input to identical AI machines (in the same initial state) will reliably produce identical output. We can argue about this all day but I don't think either that we'll agree or that this is the forum for it I'm encouraged that you used the phrase '...by an AI machine that is hardwired and programmed to learn them' because that is a major underpinning of my argument, and apparently we agree. We may not be as far apart as I feared. I have concerns with a number of things in your latter statement (among others) - 'What human beings are learning...' I would rephrase as 'What some people are speculating...', and I don't believe, as you seem to intimate by the choice of words, that these people and their acolytes alone know the truth, or know much at all of it for that matter. I really can't get involved in this kind of stuff - the Turing test is not a proof of a similar process, and I don't think that this venue is suitable for proving assertions about AI (the stakes aren't high enough ), so I think I'll stop here.
  16. Thank you for the information, charliemaine and JacksonMayberry. I was wondering if Kramer had such a product.
  17. Yesterday
  18. I bought an "arctic" seedling from World Paulownia Institute. Nice people. Got my wood from them until you introduced me to the good people at Groff.
  19. Did you start with a seed or a small seedling? Thanks, I'll give it a try.
  20. I've got six Veritas bevel-up planes which I bought a long time ago. And I'd rather they did not have the Norris style adjuster. I tighten the blade slightly and just tap it one way or another to get it right. There is nothing wrong with the machining on any of them. It would be disappointing if their standards have slipped.
  21. I would have liked to suggest the 9 1/2 Lie Nielsen, but they don't seem to do that anymore. Do they still make it? +1 for the Stanley blade adjustment system, for me the most comfortable and effective
  22. Probably not. https://pubmed.ncbi.nlm.nih.gov/7569982/
  23. I have a pretty idiosyncratic approach perhaps. I drill the eyes before I even saw the outline, and then saw the stems when the plate is still about 6mm thick, then knife them to finished before finishing grads. Seems counter intuitive but I find it easier to knife when it's thicker. Edit - I use the 15 tpi for soundhole stems.
  24. Thanks for the link. There are a lot of options there. Which one specifically do you use? Do you cut your F holes on tops after fine graduation?
  25. A lot of the Titian information is on the Strad3D website for free.
  26. I use these blades, they're really fantastic! https://www.bearwood.com/scroll-saw-blades-modified-geometry.html
  27. I use a 21" Pegas power scroll saw, outstanding machine.
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