Andres Sender

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About Andres Sender

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  1. I am curious--do you think this doubt of yours to be a rare insight or an idea that would occur to most thinkers? If the latter, do you think it's something a highly empirical violin maker would just brush aside so they could carry on having wrong ideas about how violins work? If you think such a maker would be very likely to test the idea, how hard do you think it would be to test it? Thanks.
  2. Ah there we go, 'planes more easily than ebony'. All that's needed is that it be available pressure dyed in black and live up to the hype and be cost-effective and Bob's yer uncle. Oh and something for the bowmakers too, that would be great.
  3. Yeah there's a lot going on with bamboo as I recall. Economies of scale being what they are, the best chance of seeing a useful composite 'wood' in the near future will be if a product for some larger industr(ies) happens to work.
  4. Despiau and Korolia blanks in the bridge section at Lemuel violins in Canada.
  5. When learning, don't go by how many people say a thing, go by what ideas best connect all the facts. If you go by consensus you're basing your acceptance of ideas mostly on how many non-thinkers happen to believe a thing, because actual thinking is pretty rare.
  6. The Strad posters often have errors of one type or another (you'll find previous discussions about it here). I wouldn't call 1% a "glaring" error though. That's more in the range of commonplace reproduction error which unfortunately is par for the course in most printed drawings (and scans and photocopies).
  7. Do what your musical tastes dictate. If an instrument sounds nice tuned down to 415 that is much more likely a result of the reduced tension than anything else. Feel free to use low tension modern strings in a modern setup on the instrument if that is what you are used to. By all means explore gut if you are intrigued by the possible aesthetic outcome. Don't let sad attempts at humor mislead you, there are no more baroque police than there are modern violin police. Oh sure, there are people who will tell you what they think is right and wrong in a certain context, but as with teachers and experts in any realm, you have to put yourself into their purview first.
  8. Just to make sure, you see now that you misunderstood the passage, right? That the fingers are for fine adjustments doesn't mean you ought to be able to do the whole job without them.
  9. There are two different processes involved here: conservation (the process of stabilizing a work so that it does not develop further damage), and restoration (the process of making a work look less damaged, or undamaged). The latter process is separate and optional, so 'distortion or rot' is really a false alternative. You can't see how the work could be done better, but it took me very little time to find worrisome discrepancies between the two images. The photos themselves might be at fault, or I might be delusional, or you might lack training in the sort of seeing that representational artists do. I only took issue with the discrepancies because you offered the work as an example of things done right, because I can't agree. If the pictures are a good representation, then the work was not very conservative and creates a changed impression of the artist's abilities. To me that would not be doing that job "right".
  10. I may have misconstrued the intent of your question, so my revised answer is: I don't have an issue with the team, I just find that the pictures of before and after combine to give the impression that the restoration distorted the original.
  11. That was only done "right" insofar as the photo may fail to represent the actual appearance of the restored painting.
  12. Except that in at least some instances the people who do this stuff don't realize their own incompetence and wonder what the fuss is all about.
  13. The overstand and conventional FB lead one to suspect the neck has been modified, though if so someone did a good job of making it disappear.
  14. The 1693 Strad at the Met was re-baroqued. Those are not original fittings. The original fingerboard that accompanies the Lady Blunt of 1721 is maple with ebony veneer. Sacconi shows a willow-core Stradivari board with maple sides and ebony as part of the top veneer. Speaking beyond Stradivari because we have so few originals, ebony veneer became more common as you move into the 18th c. It is tempting to speculate that this was a response to the growing prevalence of an overspun G. These often had a softwood core.
  15. Oops the crack is in the fingerboard, and FWIW Pollens mentions a wedge under the fingerboard. I should have checked the pictures! You have to allow for this kind of thing, yes.