jezzupe

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About jezzupe

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    http://jessupegoldastini.com/
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    Male
  • Location
    bela marina
  • Interests
    I used to do other stuff, now I just make violins

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  1. I think protecting the violin is the wrong approach, I suggest one place a plastic bag over their head, but then
  2. Ya, in a schmaltzy commercial haberdashery of various prexisting familiar sounding styles, entertaining, but not really intellectually challenging, not that everything has to be...but when I listen to new composers I expect to be challenged if not provoked by something "new", but not something I would expect coming from a Hollywood film I suppose. Again these kind of conversations always seem to come to the old "my music is better than your music is" thing, which is of course subjective. In my opinion anyone is entitled to like anything they do,
  3. I disagree, the problem is no one knows the music exist except in certain circles as seen by the massive number of plays. Borromeo quartet, world class ensemble, Michael Ellison, Professor at Bristol, Fullbright recipient, Copland award, genius composer...25 plays...this is not a symptom of what genre or instruments are being used, it is a symptom of a species being turned into something they are not, an intellectual regression for the masses and an informational divide creating a controlling class Control information, control the world, come now, we can't have everyone running around listening to classical music being all intelligent and stuff like that, cause, you know, you might not be able to be controlled as easily as you are if the mass of you, you know, thought about stuff. Just go turn on the tv and listen to some John Williams, that's where it belongs, subpar and on a screen, right?
  4. There seems to be something funny with the photography in that what seems to be wrong is the overly shiny reflective sheen, but what's making me go "hmm" is that the fingerboard is beaming "wet" looking too as if it was slathered in some type of polishing oil prior to the photo being taken. I just find it odd that the fingerboard seems as wet and reflective as the body where the light is hitting it.
  5. She must be every violin teachers nightmare...."ya, show me how to play slack shouldered and butt jutted like Lindsay does"
  6. Just to be clear, I would call this "the tonrite effect" which has nothing to do with a "tonerite", I do not buy into "the tonerite" thing itself.... I just use the term "the tonerite effect" to describe " 300 years of playing vibrations" which your not going to get with a joy buzzer also, yes these are just speculation , things I think might be going on, thats why I always phrase things as "I feel" and yes there is no way to test any of this, which in itself speaks to there being some probability of it being correct. In all these "theories" "we" toss out, we must recognize and or categorize things that there is no way to prove....and that just because they have been put into a category of "the unprovavble" does not mean that they are not in fact correct. improbable as they may be or not
  7. Well I personally do think that certain ones do sound better, mostly because they had been modernized and we can put dominants on them. I don't think most of us would recognize them as we do now when if we heard them in their original state and strings. to the best of my knowledge there is no secret
  8. Well I think it's the wood also, and I do think torrification is the closest thing you can get . I do feel that prolonged and repeated vibrations being driven through the material over 300 years will effect the internal structure and properties of the material on perhaps a "microscopic" level as it relates to "hinge'ing". and how this will relate to internal thermal build up as vigorous prolonged playing happens and how that may effect elasticity and or range of motion in various modes. During a prolonged playing session where perhaps a "warm up and the performance" is done the violin will be going through a prolonged period of gymnastics as all the various notes that are being played excite all the various modes of excitation. Keeping in mind an increased and steady amount of heat is being introduced from not only the string energy/vibration but much more from the players body and hot breath which is being blown into the ff's turning it into a low heat betty crocker oven. So, going back to internal grain structure of new{in full dimension prior to carving} untreated wood, it has lots of fresh "stuff" in bewteen the cells and tubular structure, lets call it the pithy stuff in between. Thats the stuff that holds lots of the non water soluble fluids like oils, saps, acids and what not, that's the stuff that ends up in the bottom of Don's thermal pan, Don's brown sweaty wood juice . now the removal or extraction of that stuff is just one thing that's going on with the process, but I feel that Plato processing material somewhat mimics or alters in a similar way as does prolonged degradation, it alters the stuff in between the tubes and cells, crushes bound water packets. So, either through time or pressure and heat the internal wood structure becomes more lattice like, less pithy stuff and all that was in there with it . So, when the heat is introduced long enough to completely bring it up to "max" temp the lattice like material will be more prone to elasticity via heat. Looking at either modal analysis or even chladni patterns we see areas in various modes of excitation based off various pitches, areas where the range of motions will be larger, we see the more nodal areas less prone to motion. It is these areas where the range of motion is larger that the heat energy builds up. 1. because they are generally in the thinner areas of the lungs 2. because of that, the range of motion {energy consumption} in those areas is larger 3. therefore those areas get warmer, warmer means more elasticity, more elastic means more potential range of motion in those specific areas. I feel these areas after 300 years of vibration have developed a "grain" {similar to muscle} memory like attribute that makes the wood extremely susceptible to localized {soft/hot} spots that somehow I feel translates to us saying "wow" that thing sounds great"
  9. related to "tonerite" vibration....I do not think that 1 year would be sufficient. In a natural 300 year cycle the violin would be played as degradation happens, I do not think this is something that can be duplicated.
  10. For what it's worth I know of some pretty highfalutin 'guitar makers who use poly right of of a can , I tried to get them to see the Joe Robson light, but they just could see the bowling ball in it all I guess. but ya, do what Jeffery say's
  11. To me there are two components to the magic 1. time = degradation and sending lots of vibrations through the material over that period of time 2. natural talent that is given a chance to flourish
  12. I don't disagree with any of that. I just don't think people should be hung up on trying to find or prove there is some 'secret" or anything overly special outside of what they are, which is special, but there's no special on top of the special imo And to the best of my knowledge he has quite a few resources with a whole buncha money and a boss who owns one of the largest collections Don't get me wrong, I'm not knocking him or anyone who does research, it's just in the long run, after the years going by, I can't really recall any bit of scientific research that I've read that has helped me build a better instrument. No Strad involved, that has been all me, I think we know everything we need to know just based off what was left behind and that as more time goes by the more I find these things are for people who are interested in violins and stringed instruments, not for people who make them.
  13. I think his methodology is sound, but the real intent behind it all is low level friendly propaganda that helps keep the dream alive , the mystique in vogue and the prices....priceless