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Torbjörn Zethelius

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About Torbjörn Zethelius

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  1. I have been thinking about this and would also very much like an answer from someone knowledgeable in the history of the evolution of the modern violin. There seems to have come into fashion in the late 18 hundreds to play on larger instruments, and I think this is due to a development that began in France. The Hills, Stradivari his life and work, Dover edition p. 257, quote a letter from Rev. Thomas Twining, dated May 4th 1791, who complains about his Stainer when compared to his Strad, that it is "undersized, and on that account less valuable". I guess It may have been due to a n
  2. You're supposed to leave it in water for a month. It will break down (rot) by itself into a fine powder.
  3. Yes. That's what I wanted to point out.
  4. Not a myth. The outer mould possibly came about in the late 18th century when copying Stradivari instruments, and later Guarneri del Gesu, became fashionable. There was apparently quite a lot of innovation in French violin making around that time. Edit. I don't know what was going on in Mirecourt at the time that you're asking about. From Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Printed in 1751.
  5. I would probably not go less than 12.5mm external arch height. Up to that point I'd feel safe.
  6. I wish to see an end to copying altogether, but it will most likely never happen.
  7. The Messie is 0.2mm lower. Draw your own conclusions.
  8. I think crypto technology could be useful. A certificate can be issued along with the transaction and it will be stored in the block chain forever without being able to fake or removed.
  9. I make certificates when asked for it. A personal model and style is to prefer over cheap copies.
  10. Thicknesses aren't as important as the curvatures. Make them thin or thick, I don't care.
  11. The proof is in the Tarragona, as they say in Cremona. I just made that up, pretty clever, eh? That guy knew a lot.
  12. Funny that you ignored my post with the quote which was actually from the time and place that some of these makers were still active. You also need to show why, if they really made the top more flat, that there's any advantage of doing so. The most sought after instruments as far as I'm aware, are rather more curved than not. A case in point. Del Gesu made rather thick plates that keeps the shape well.
  13. Some of you may have seen this pic before, but anyway. Since the discussion is about what the old makers did or did not, consider this excerpt from Dizionario delle Arti e de Mestieri, by Francesco Griselini, Marco Fassadoni, Venice 1770 LIUTIERE, o FABBRICATOR. DI VIOLINI, ED ALTRI STROMENTI. ”The principal point for the goodness of the instrument is to find good, old and sonorous spruce for the belly: the best is from Tyrol. The cavity shapes given to this belly in a vault shape more or less high, the diverse thicknesses to be observed, the way that the bassbar is placed insi
  14. Anyone familiar with the replication crisis?
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