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About DMartin

  • Birthday 04/07/1943

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    Eliot Maine

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  1. I fully agree with your 30 second assessment. The hot air systems I encounter are very harsh. If you (or a violin) are near a vent your are periodically breathing air that is drier than the room average. To say nothing of accumulated dust and mold in old systems. I'm probably not alone in finding the best systems are broad–area radiant. My partner downstairs keeps her studio air temp just above 60°F and it's very pleasant — radiant concrete floor. I have a hot-water baseboard which distributes mostly by convection as it is small in area and shadowed from direct radiation on my body. Short of installing broad radiators in the walls, floor or ceiling, I'm imagining that an eight foot black stovepipe hanging near the room center and heated to 80° to 90° would allow me to drop the air temperature another 5°F.
  2. In the hands of this duo on this recording this Strad talks to me of Beethoven: Beethoven Sonata #10 — Perez/Dumay I give equal credit to the pianist and assume (hope) the fiddle is the Harte once played by Francescatti, the only great player of the 1950's that I heard in person.
  3. Thank your posting your first and bringing fond memories. I had recently noticed that the outline drawing included with "You can make a Stradivarius" is very close to the 1721 Kruse in the Strad Mag poster. Reid's drawings and arch patterns do not show FF fluting. Don't know if the text mentions that as the book itself wandered off years ago. On the other hand, in 1957, the book enabled a thirteen-year-old to start making without a mentor. In addition to drawings of all the necessary tools, it also cited tonewood and fitting sources Rembert Wurlitzer and William Lewis and Sons. I eventually visited Wurlitzer in 1960 and was invited to walk through the long narrow workroom with its single bench. The only worker that talked, a dark-haired fellow, handed me the luscious white violin hanging above his work area. Believe he was René Morel.
  4. Yes, the ff reminds one of the Messiah. What a shame.
  5. Seems to be a gift — distinctively sensuous. Someone will come to love it.
  6. If you click the arrow, one of the photos shows the setter with an S-bend. Not in use though.
  7. In following your tip, I also discovered "Violinmaker Hans Benning Remembers Violinist Jascha Heifetz". Hans describes his 15 years servicing Heifetz's dG. Charming and insightful. The last bit on the memorial concert where others played the dG touches on the players role in projection. https://www.youtube.com/watch?v=0LUv_Tq3MGU
  8. Thinking back over more than an hour's worth of listening, I remember a first impression that synthetic reverberation might have been imposed. One clip was stronger in this sense of artificiality. After a few runs this sense diminished, especially after Don mentioned the hard surfaces in the room. Now combining a Don's further information and other comments and working from memory alone, I'm thinking #2 is the best candidate for equalization. Now which clip is the source? Possibly #3.
  9. Jumping off! I'l go for 7 as firewood and 4 for silver medalist—with 1 as second choice for the silver. 7 is my favorite.
  10. Love those transparent strings!
  11. By chance are you referring to the new d'Addario Kaplan Amo and Vivo strings? They seem super to me.
  12. Getting new tires tomorrow just for the trip. Looking forward.
  13. "If you can't imitate it, don't copy it" —adapted from Yogi Berra.
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