Andres Sender

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Everything posted by Andres Sender

  1. I am intrigued by the fact that no one is defending the wedge/ferrule construction. Many descriptions of the evolution of the bow ascribe an increased ability for accents at the frog to the wedge and ferrule.
  2. Anyone know the details of the bow Biondi's using these days? Model, maker, material?
  3. IIRC and FWIW, you wouldn't end up where you think you need to with the original board without making some other changes that might freak you out just as much.
  4. Just remember that to be considered historical, the recipe shouldn't have any pasta in it. IIRC, pasta was an occasional delicacy of the aristocracy during Stradivari's time.
  5. And so it does, albeit subtly as far as appearance, and only a very short distance as far as the sliding. As to removal, I'll let those who reset necks tell you about saws and removing after gluing. Also, a violin neck is not a 'tenon' by any definition I can find. Tenons project, they have shoulders from wood being cut away from the main body.
  6. I may not want to put them in the same category, but after giving this some more thought, I do think that's the right choice. The slightness of the taper of the neck doesn't stop it from causing the joint to share more of its distinguishing characteristics with dovetails compared to the alternatives.
  7. There is sometimes value in thinking about the boundaries of categories like 'dovetail'. The violin world sometimes adopts terms in ways that lose sight of the original meaning. It's not a problem a lot of the time but it sometimes endangers clear thinking. For instance Jacob's example illustrates the problem even just within the violin world. Does one really want to use a concept for the neck joint that blurs the conventional joint with instances in which a conventional dovetail was used?
  8. Strad used a butt joint and nails. The standard neck joint isn't really a conventional 'dovetail', although the walls aren't strictly perpendicular either. With the button and a well fit joint I'd say it's not luck, even if the walls of the mortise were perpendicular.
  9. Going on memory, there's the Bon Musica which has a bit of a hook over the shoulder. There's something more extreme along those lines which was being sold for electric violins. For around the neck there's a soft product like a pair of weighted straps that you can put both over one shoulder or one around the neck, etc. Sold through the maker's website. Then there's the illustration of a device that clamps to the violin and has a metal hook going around the neck in some early 20th or late 19th c. book. I have never seen a picture of an actual one. Sorry I don't remember names or references for these.
  10. There's a Strad Poster of the 1679, with 3 each belly and back cross arches and long arches as well. Some details of the neck and FB also. Based on those three cross sections the arches have just a smidge of Amati thrown into them compared to the 1668. I have always been curious to see an example of a Stainer with a very Amati-like arch in the back such as Roger mentions in his article.
  11. Or start learning the craft in ipe or bloodwood. Check out Stephen Marvin's website for some discussion of alternative woods. Although not cheap, you can get blanks in alternative woods from at least one European supplier (sorry I stumbled on it and don't recall the name). I don't know if Australia has much imported lumber, but if they import Ipe for decking, if you get the properties you need figured out, you may find you can go buy something locally and choose the right kind of boards for your purposes. It isn't enough to name a species when buying wood for modern bows, you really need to get into a sweet spot of density and stiffness just to make a bow that works, particularly when following a recipe before you have much experience.
  12. The only issue is the thickness of the gut vs. the channel, if the gut is too thick, you can file the channel according to your most comfortable and effective method.
  13. Early violin makers didn't have "lightness as a goal". Yes their violins had lighter setups than modern violins, but they didn't know modern setups. They were just making violins that worked for their purposes, with the right qualities, maybe they were paying attention to mass, maybe balance--just as some modern makers do. Maple fingerboards suited the goals of early violin makers until overspun strings became common. Yes the veneered softwood core board seems to have been common, but there were some veneered maple boards (i.e. Stradivari 1690 and 1721) and later there were even some solid ebony wedges. As to 'lightness' and the technical challenges of baroque technique, it's worth keeping in mind that the widespread use of chin rests lagged far behind the modernization of the violin, i.e. well into the 2nd half the 19th c.
  14. https://www.gamutmusic.com/tying-tail-gut/putting-tailgut-on-a-historical-tailpiece-the-stradivari-sti/4a2eb0eb-8a90-45a6-a6e7-fe4dcd9d62f3-13 Sometimes you'll see it as just a half hitch with burned ends under the end button.
  15. I wonder if a slightly rounded wedge shape would solve this. (The open channels in some baroque bows are rounded which might have been an early attempt to preserve some spread though that's just speculation in the end.) Maybe try gluing a bit of very thin paper or similar material to the channel?
  16. I've gotten 2.5 and 3 mm tailgut from Gamut in the past.
  17. The paintbrush idea with the wrist oriented to allow motion on that axis to assist the hand in accommodating the changing angle of the forearm is mainstream teaching. Special exercises using only certain fingers for purpose of developing awareness of the function of the various fingers in different parts of the stroke are also mainstream teaching (as opposed to teaching a normal bow hold sans pinkie).
  18. Be careful of the advice you hear in internet forums (and youtube videos for that matter). Carefully pick your authorities for primary information and if you seek help in interpreting those, be on the lookout for bald contradictions (such as the idea of leaving the pinkie off), as well as relevant modifications. Although many of the teachings in other videos in this series are not mainstream, the preliminary bow hand exercises here may help you to get more comfortable and understand how the hand's relation to the bow changes during the bow stroke (you will find even here some ideas are different from what you have learned, such as about the pinkie's position, all I can tell you is that FWIW Galamian also has the pinkie resting on the facet next to the top). https://www.youtube.com/watch?v=BYRJKRdwvrw A few youtube channels I think it's safe to recommend: professorV, violinclass (Julia Bushkova), and violinmasterclass One of the dangers of learning on your own aside from just plain misinformation (of which there is plenty) is that you will find some 'rule' in your research and apply it either too literally or without realizing that some aspect of your hand shape or size changes how you should approach the task. Good luck in your research!
  19. Is the crunch during the continuation of the up-bow by the fingers or after the bow changes direction? Just out of curiosity, were you taught a specific name for this? Thanks.
  20. Thanks Davide. Fiorini worries me. It seems widely accepted that he was the point of origin for the fraudulent "Paganini photo" which is still in circulation.
  21. Ah thank you for this Davide. I had missed the news of the graduation punch being known only to be from the Ceruti workshop--is this information in the last catalogue or elsewhere? I was going to say that if we're creating a wish list for these artifacts, a proper evaluation of their provenance and relationship to designs of their supposed period (by experts on tools of the era for instance ) would be fantastic -- but it sounds like some progress has been made in this direction already, at least in terms of disclosure.
  22. For anyone trying to increase their learning ability, recent science having to do with the effects of exercise (aerobic and anaerobic) on learning and retention is worth looking into, I suspect particularly if one can figure out a way to closely mix exercise and the activities one is learning. There are of course plenty of anecdotes but have a look at the clinical work.
  23. Evan - did you mean that the many improvements and examples of progress in your first post you ascribe to TCDS? Rue - it may help to distinguish 'maintenance' type practice from 'growth'. You can to some extent maintain your gains while focusing on growth, but you'll be in a better position to grow if you've at least maintained. This means having at least a mental list of pieces or warmups which are particularly good for keeping the needed muscles and coordination topped off. I find these more and more necessary as the years go by.
  24. Hi Ben, thanks for your informative link. The early music movement suffers from a lack of scale, so evolutionary speed and heights of achievement that arise in large populations are probably harder to come by. But one of the pleasures of listening to baroque violinists is that there is nonetheless quite a variety in conception of sound, and I think some of the more 'different' sounding players, far from seeking to differentiate themselves at any cost, are honestly--and I think courageously--following the evidence in their setups and exploring the results. In fact one could as easily argue that the players and bands who have a more modern sound are the ones who are allowing considerations other than historical recreation into their calculations. There is a danger of mistaking one's own esthetic preferences for objective standards of beauty. I confess that there are moments when I am thrown off my baroque enthusiasm after hearing a great modern player work a great instrument through its paces. Yet although I have to admit that the best modern violin sound can have a lush richness and tonal variety that it seems a shame to let go of, that is not the same as being convinced that baroque tonal ideals must have been the same as ours, or that exploring them must be a dead end. Already the viol sound is very different, and some argue that the violin tonal ideals of the time were in some areas affected by this. Wind instruments? I'll take a scratchy gut strung violin played with a short bow with black hair over a recorder any day.