Torbjörn Zethelius

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About Torbjörn Zethelius

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  1. LOL Great! Thanks for sharing.
  2. The form of the final object is dependent on the science of the day, wether it's true or false. IMHO
  3. We do know that Stradivari's step children in his second marriage were the grandchildren of the architect Alessandro Capra. I think I got that right.
  4. At least we do know which theories were in swing. True or false; we can make some deductions about their theories.
  5. That's what I called the 'bread loaf' in my first article from 2006. I guess it's called the barrel arch nowadays.
  6. It's extremely thin. Almost non existent.
  7. I coat the surface with a mix of turps and beeswax. Then polish.
  8. I have been thinking the same thing.
  9. That's not how I think of it, though most makers would probably agree with you. The way I think about it, the sound is created inside and outside of the violin body simultaneously, like an explosion. Or a series of explosions. Likewise, the sound that reaches the ears of the listener is formed at some distance from the player. Your guess is as good as mine. Yes, but I don't remember him, Andrew, stating it to be theoretical only.
  10. Where did you get that information from? I'm not even sure it's about Cremonese instruments.
  11. Actually, I do think of the internal surfaces as reflecting the sound in a kind of echo chamber way. And yet it is simplified. So much going on and this is just one part of it.
  12. They don't rule out each other, do they? I think we seem to agree mostly. The term 'sound beams' should be understood in a broad sense. I don't necessarily subscribe to the notion and yet I think it was the old way of thinking about it. That's how I understand the Segreti di buttegha describes it.
  13. Thanks for sharing, Davide! It's a strange time. The echo didn't seem quite fit for the video, but maybe the ceiling in the tower did have some effect on the sound, who knows?
  14. How can I disagree with that? I haven't tried everything that can be done to the surface of the wood. My philosophy is that less is better. Of guitars I have no opinion. To each their own. I'd love to see your notes from Guarneri if you would mind showing them to me. That seems really exciting. For sure Stradivari had notes, but I suspect that they were destroyed after his demise.
  15. When I wrote my article about the inside first approach in 2006, I wasn't aware of Euro Peluzzi's book. I think his idea came from Librum segreti di buttegha, which also speaks of the internal reflections of the plates. It was the philosophy of the old makers IMO. Interesting that Peluzzi claims he reports notes from Stradivari that he checked personally. Perhaps they were mixed together with the text in the Librum segreti? As far as I know, there's hardly any notes left from Stradivari besides a few letters and his will. A scientist in those days was called Philosopher, i.e. they mixed scientific experimentation with speculation about the nature of things. I think this is an honest and true description; science can't be perfect because it is employed by humans who are inherently imperfect. Yes, archings deform over time. That doesn't rule out that makers can make the internal surfaces similar to each other to reflect the sound beams. I'm not sure that the old makers were aware that their instruments would be taken care of and played for over 300 years. Some claim that modern instruments can be as good if not better than the old ones, so the internal reflections could well be at work here. I agree that it seems overcomplicated. But I don't agree that the theory of reflections is pointless. If I remember correctly, Bruce Carlson showed me a violin by Euro's father. I don't see him doing the calculations, but definitely the inside archings before the outside. I also see him/they doing experiments as we do today. I pretty much disagree with all of that.