CT Dolan

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Everything posted by CT Dolan

  1. Brian, I am very happy to see you here. I've always been a great respecter of your work, but even more so of your person (to the extent I can know either from a distance, of course, but you have shown yourself very worthy with regard to each). I don't hang around as much as I once did (too acidic, the air often becomes), but every now and then do drop in, and this is one moment I am glad I did. Thanks for coming around. :-) Chris
  2. Thanks for sharing the images...as they say, a picture is worth a thousand words, and the two you have shared say quite a lot!!!
  3. When you consider that new work of Sam's goes for the bottom end of the estimate, and add to this the provenance (a 'Plowden' copy, a model Sam is most likely most qualified to realize, all made for Ruggiero Ricci no less), I think they're spot on with the estimate (if not even a bit low).
  4. I have totally fallen in love with the work of Bergonzi (every aspect of his work), but if I were picking a model to start with I'd definitely go for the Titian Strad. There's just WAY too much good information floating around on that one (for those of us who do not have something worthy of a copy laying around the shop).
  5. I suppose that explains the avatar, then. Sorry, me just trying to be funny.
  6. The back IS mesmerizing!!! By the way, have a look at a few del Gesu violins and you might find yourself feeling a strangely similar sensation (the 'Plowden', 'Alard', 'Lord Wilton'...looks like the same gorgeous piece of maple as in the "Baron von der Leyen').
  7. The main point I'd like make, though, is that I believe one must start young, so they may work on establishing a career (cultivating a reputation) when it is more affordable to do so. Furthermore, a base set of skills will become developed at the ideal point in life.
  8. "The workers earn $150-$300 U.S. Dollars per month." Personally, I see opportunity for makers in more developed nations shrinking, because the high cost of living leads to a necessarily high cost per instrument, if one is to survive financially (in other words, the market just keeps on getting smaller and smaller for said maker). Certainly, in time and as the standard of living in China becomes elevated, the cost of living will drive up wages as well (it is already happening, in fact, and at a rather astonishing rate), but the divide remains rather large. True, as one man says the sound is n
  9. I just ordered a copy of "Stradivari Varnish" from Tarisio (turns out my prior order with 'servingaudio' was never processed), and happened to see that Tarisio has the 2-volume publication on the del Gesu exhibition for a VERY attractive price ($200 less than I paid a couple of years ago!). So, if you've had this one on your wish list (and if you are a maker, or a maker wannabe, you should), I'd say now is the time to jump.
  10. Read the final paragraph, regarding this extremely fine and gorgeous Stradivari violin. http://www.darntonhersh.com/article.php?article_id=1
  11. Curses!!! Sure wish I would have held off my order of Stradivari Varnish until this thread came around. :-/ Oh well, you don't know what you don't know.
  12. Ethan, I am sure that if I would have ordered from your firm it would have been both prompt and well packaged. I am not an impatient person but in the modern, digital age it is common to order online and receive confirmation (of the order, and of its shipment). I guess I need to train my mind to think 1883 (as in the year, 1883) and trust the item will arrive in good order, in time. As for how to get the word out, I would check with Jeffrey as I am not aware of the rules regarding promotion. No doubt the beginning of a new thread with the appropriate title would do the trick, but perhaps it
  13. Ethan, I thank you too, for taking the time to post and wish I would have ordered the book "Stradivari Varnish" from you, instead. For one, I would have saved some hard-earned money, but also I'd still not be waiting for the book to arrive, over 1 month after having placed the order...
  14. Kinda like a late del Gesu, that way (maybe, anyway, knowing nothing more than the above). How do these violins, the ones that do well in the "shoot-outs", fare in the playability department? Tone is nice, of course, but ease of realization pretty important as well, especially for a player such as myself.
  15. This is not exactly what I was looking for, but the below does delve into some of the reasons for the asymmetry: http://www.roger-hargrave.de/PDF/Book/Chap_02_The_Mould_PRN.pdf No doubt you are aware of the link, as well as all of the others on Roger's site (including the one which deals with the arch). I am reminded of a speech given by Sam Zygmuntowicz, wherein he talked about his thoughts regarding interpreting Guarneri, especially within the context of making a "copy" (be it a strict bench copy, or an inspired interpretation of). It was rather enlightening, you should try to find a
  16. I wouldn't reproduce asymmetry with respect to the rib outline, nor the arching, but would rather strive to realize an idealized form in all respects (your finest interpretation of, which I would base upon the historical premise, the original intent, to the fullest extent possible...which comes down to more than form alone, method playing something of a large role as well). Let natural asymmetry fall where it will (a natural consequence of your own imperfection, as well as that of the wood). As for the cause of the asymmetry we see today, in the arching and the outline, that one is subject t
  17. Dude, Enneagram Type 8, look it up (and yes, that's you I'm talking about...and you seem not a very healthy one at that). I cannot believe the mind of some people around here, the insecurity which seems to be displayed by those who really shouldn't feel so insecure (unless there is something I do not know...and no, Lyndon, that one is not directed at you...although perhaps you do have this going on as well). Give credit where credit is due. Micheal has done more to elevate my perspective than any other contributor on this site. Does that make him the sole authority? Of course not. But
  18. From a tonal perspective, this violin (his Guarneri) is my favorite of all, hands down. Get your hands on a copy of Gidon playing the Bach Sonatas and Partitas, and enjoy. :-)
  19. You are correct, in this respect guitars are infinitely easier (NO arch!). There are a lot of options with regard to strutting, as you mention (my favorite has always been the 1937 Hauser, and the more recent concept pioneered by Jose Romanillos), but no arch.
  20. http://www.violinmag.com/ Click on the heading given the title "Model", and read.
  21. If you want my advice (for whatever it's worth) go with the Titian Strad (the Strad, February 2009), and don't look back.
  22. http://www.lucidpages.com/branco.html
  23. Good point (and I do realize one cannot quantify human intuition, nor copy genius...that was the point of the questions, to bring to light the absurd). We each stand upon the shoulders of another (to quote Newton, loosely) and one serious benefit Stradivari, Guarneri, Amati (Nicolo and son), Bergonzi, etc. had is the time and place in which they lived. This fact cannot be defeated, nor ignored. The training they received was certainly second to none, and the environment an ideal one in which to practice their art (and I use this word, "art", deliberately).
  24. I ask again, how does one quantify human intuition, and how may one duplicate genius? The variables are legion, nonetheless the human mind is capable of sorting the lot (although some minds perhaps more so than others, I admit). As for our analysis, though, even the best of it is woefully rudimentary by comparison. In other words, it is little more than a distraction. Ask yourself, what is it you hope to duplicate? We all know the answer, of course (I hope...not sure all do, though), and so why apply a modern standard to a 300 year old paradigm? It just doesn't make any sense. (And for those