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Torbjörn Zethelius

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Everything posted by Torbjörn Zethelius

  1. I'm not forced to do anything because the pin isn't the secret. IMO But I do use it. Actually, I don't use a pin at all. I fill the hole with goo.
  2. Well, it is. And I have written about it in the Strad.
  3. If we don't know what the secret was, how could we tell?
  4. Hi Martin, then could you explain to us the Amati method? I've been curious about it for a long time. If Strad had a secret it would be that.
  5. Great find, Kevin! The lack of compass marks or lines indicates that it has been traced from an existing mould or rib outline? The most apparent explanation would be that it's for copying an existing mould, no? Or is it just for study purposes?
  6. Carl, you’re an insult to yourself. Please stop it.
  7. Yes, I meant two layers glued together, like plywood. Imagine a belly with the year rings going transverse.
  8. I can imagine that a bent top would have less creep. You could even make a super thin two ply top. I wonder how that would work?
  9. Oh, I see, it's for picking up girls who play the violin. Very useful.
  10. I don't see how this apply to violinmaking.
  11. I suspect that we would see less diversity in Cremonese archings if they were bent. No?
  12. Luigi Tarisio (21 June 1796 – 1 November 1854) Cozio wrote down most(?) of what he knew about violin making, but I haven't seen anything relating to wood treatment of the kind you're proposing.
  13. A shift in violinmaking occurred around 1800 and after that people began talking about Stradivari's secret. I don't know that for example count Cozio di Salabue, despite his research and knowledge of the methods of the Cremonese makers ever mentioned a "secret".
  14. "It's 90 percent the player and ten percent the instrument, but we don't tell our customers that"
  15. As David explains it so much better than me; Stradivari worked inside a traditional framework where he was the leading figure in the height of his career. Cremonese violin making was known over Europe as the finest even long before Stradivari was born. Being wealthy, as I believe that Antonio was from birth, he had the unique opportunity to profit on this fame. Add to this an artistic eye and success is inevitable.
  16. Stradivari had the wealthiest clients so he had to be particularly careful. Otherwise he did what everybody did, but in his own way. You left out the part about 300 years of the greatest players influencing their own characteristic sound on the instruments. I’d think it has a great deal of the fault, as well as mishandling by some players.
  17. Geminiani surely was talking about producing a human like tone. I.e. the player should strive to produce a human like tone in the instrument. It's not the instrument per se but the player. This goes along with the misconception that the maker is the maker of sound. I say the instrument is just a tool. How many violin makers are capable to play a concert like the great soloists? How many violin makers are able to produce a human like tone by their playing?
  18. An alternative is to go by the edge thickness. It ain't rocket science.
  19. A client tell me they have better intonation on their Zethelius.
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