Andres Sender

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  1. Has this system got all the bugs worked out in terms of distortion? In the olden days with some opaque projectors it was hardly worth using them for anything of any precision, there was so much distortion. This could be very handy in a lot of applications if that's not an issue.
  2. In each quadrant, the green lines are all the same length. The bulk of the effect seems due to a greater distance from the edge of the c-bout purfling channels, but there is some drift even beyond that.
  3. F. Rugeri ca 1680, just the top. Stuck in my memory because it was so odd. Perhaps Michael's scenario could occur in an original workshop. "Channel looks good. Now at the corners don't forget to push the point to the side, you know?" "Oh yeah, right, will do."
  4. Gowan - yes, one will find commonalities among the HIP performers, and probably 85 percent of that reflects things found in period sources--agitated pointing at gaps in the fossil record notwithstanding.
  5. The more historical the equipment, the easier it is to explore subtleties of historical performance practice. You can play idiomatically on the right violin in modern setup, but you will end up with a different kind of sound and a different range of articulation. These videos may help give an idea, although you'll have to read past the different recording environments. Pine is of course playing on a really good instrument in modern setup and modern strings, she's using a very heavy 'baroque' bow. Sato is using a much more historical setup and beyond the fact that their conceptions of the p
  6. Professional players regularly use instruments in modern setup in period ensembles all over the world. Different instruments will respond differently to gut strings. It's not necessary for you to put a baroque bridge on the instrument to use gut. Once you get gut strings that work on the instrument (which may not be trivial in some instances), if the other players think your instrument is too loud, you can try a baroque bridge. Don't let people dissuade you from using documented historical bridges such as seen in paintings and Stradivari artifacts. There is an incorrect theory flo
  7. This brings up an important issue with the principles of "ideal technique" put down in books as compared to the realities of competent playing. Many books recommend keeping your fingers floating low over their notes when they are not able to be put down on the string. But if you look at great players you find that even in fast passages this is not always what they are doing. I mentioned this issue to a friend of mine who played in orchestras all his life and had studied with some important names and he said that's not really the priority in advancing technique, that lack of tension is more
  8. I believe there is optical character recognition in some software out there, although it is not something I have experience with. But you will be much, much better off in the long run learning to read music, and the effort required is not so terrible.
  9. The late William Fulton used to do something similar to Michetschlager but heated the wood by immersion in water. Sadly the full description of the process that used to be in the MIMF seems to be gone, so I can't remind myself of the details. I don't think he glued in wood for platforms, but I can't swear that he ended up with normal platforms either.
  10. I've read that it's not especially awkward. It spectacularly violates our expectations of course. I've heard it makes things much easier for the left hand compared to the violin/viola, and the instrument support issues are gone. The only thing is to get used to the relationship of your bowing to gravity, and even there it's more about difference than disadvantage.
  11. I have no opinions on this issue, but I was curious enough to do some searching and post these in case of interest to anyone else. I do find the violincello da spalla fairly fascinating.
  12. Any of these?
  13. The parties involved have choices to make. Their choices on the whole likely reflect their best judgment about what would make the kind of life they want from the available options. Perhaps the pandemic will expand the possibilities, or their understanding of the possibilities. It is only in this regard that discussion of future changes makes sense. Fischer says what she thinks ought to be without giving very solid reasons, and without addressing the reasons things had been the way they were--we all know very well people don't usually choose the type of grueling touring schedules just for
  14. I didn't go so far as to assume that (even though it is by far the most likely explanation) because at first glance she doesn't seem to be doing much else along those lines, but I haven't watched the video closely enough to make a pronouncement on that.