Melvin Goldsmith

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About Melvin Goldsmith

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    http://www.goldsmithviolins.com
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    Montacute

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  1. You can take the back well over 5mm.. no problem. If I see a DG model violin with less than 6 I get disapointed
  2. Miracles can of course occur if one takes ones instrument to a charismatic high reputation adjuster. They might not need to move the post at all in reality to have a profound effect.
  3. I bow to your sound tech background and kind of agree with what you say. One thing that has always had me thinking was a classical guitar maker who told me his theory that an audience would expand their ears to hear a quieter beautiful tone and withdraw their ears from an aggressive loud tone
  4. I don't insist on doing the work myself but If I can't do the post adjustment I want it done by a colleague I can trust and work with. ie not the latest Svengali adjuster to be harassing the orchestra or No3 Viola who is compulsively handy with a soundpost adjuster and has nearly made his first viola. SO much damage can be done.
  5. Most sound post adjustments involve dragging the poor thing around and scuffing the surface of the belly from one poor position to another to find the least worst. On instruments I have made or worked on all warranty is invalidated if the post is tinkered with without my approval
  6. The sound and projection are very good in the opinion of my customer and myself and we have both decent hands on experience of great del Gesu violins. These days I don't gradate a violin until the varnish is fully cured ( I leave everything over 1mm thicker than required) and I will take a violin apart a few times and regradate if needed. This allows me to experiment and take risks. I am not trying to make the perfect violin straight away...I make a violin to the best of my abilities and then I act like a restorer and set up guy to improve it from there. I have no interest in how a new instrument sounds until it has been strung up and played or mechanically stimulated for at least 3 months or so and all the tensions settle in and the wood moves and longer posts are needed and neck angles re set etc. Heavily wooded instruments need time to settle in
  7. The front arch was about 16.5....after settling the violin in it's about 18mm
  8. The latest...a kind of portrait of Guarneri via memories of some beautiful instruments I have been lucky to experience. Most of the idiosyncrasies like the head are deliberate but of course some are unconscious ! The back of this violin is 8mm thick .
  9. Watching varnish glaze layers wear is like Tortoiseshell
  10. Yes a lot of this depends on the string types and the players requirements. If a radical change of strings is done it might mean a new bridge as Andreas suggests or at least filling and re doing the string slots...and of course the type and condition of the fingerboard as has also already been mentioned I have had very fine and powerful players ask me to go really high with the C string even using Sprirocore because they can really get that thing moving. Today I was working with a Cellist whose work you will all have heard and I will not name but using a Larsen solo A and D and a Eudoxa G and Olive C we had A at 6.5 to bottom of string and C at 9mm measured the same. This is a very physically strong person. Normally using all metal strings I would aim for 5.5 under the A and 8 under the C to start and adjust to the players comfort and taste. I will also take into consideration the seasonal relative humidity at the time and what I and the client know about the seasonal movement of the cello in question. For some players these measurements will be too high but of course it is much easier to lower string heights than to raise them!
  11. If your sources are the same I am thinking of I'd like a bit more verification on those densities