Matthias Lange

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About Matthias Lange

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    Rottenburg, Germany

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  1. It should translate to something like: To Luis Manfio, with many congratulations for wonderful instruments! Rich sound, good sonority, and flexible colors! It would seem he liked your violas a lot...
  2. Thanks for your suggestions! However, I will only stay for a few hours because I am traveling with my one-year old son and we have to get back to lago d'idro in the evening. So no opera this time... I'll probably visit museo del violino, walk around a bit, maybe visit a violin workshop and perhaps cremona tools...
  3. That's perfect. Both threads are very helpful! Thank you.
  4. Hi everyone, it's been a while since I last posted here. I'm currently spending my summer vacation in northern italy at lago d'idro, which is quite close to Cremona. I'm planning to spend a day in Cremona and I am looking for advice on what is considered as the most important things to visit? I know that there have been several threads on this topic over the past years. However, I failed to find them using the search function... (I only found two old threads, dating back to 2009) Any advice or link to these previous threads is greatly appreciated. All the best, Matthias
  5. The Brandmair/Greiner "Stradivari Varnish" Book contains excellent photos of the Hellier. Matthias
  6. I've always had the impression, that the arching templates are just cycloids fitted to the length and height of the arches, which don't need to have much in common with the original... However there are photos of the arches, taken at a low angle with a laser along the arch. These are useful. You can make pretty good templates from these photos, if you know the measurements for the length and height of the arches and guess the angle the photograph was taken at. The slight distortion due to the angle can easily be corrected in photoshop. Matthias
  7. Here is an scroll template I made some time ago. It is the Titian Strad. Matthias
  8. I hadn't even realized that the Sarasate has an oppio back. Thanks for pointing it out. That's a pretty good explanation for the scribe lines. I've got some oppio and will try if scribelines swell back less than on sycamore maple (acer pseudoplatanus). Matthias
  9. The Sarasate Strad has many scribelines that can easily be seen on the great photos in the Brandmair/Greiner Stradivari varnish book. There are other Strads with scribelines but on the Sarasate they are very striking. Matthias
  10. The madder lake is homemade. I prefer it over the commercial ones because it is more transparent and easier to mull. I used the David Rubio recipe, but washed the roots before to remove as much dirt and unwanted stuff as possible. The bone black and cinnabar are dry pigments that I mull into the varnish. Yes cinnabar contains Mercury (Hg) which is toxic, but cinnabar (HgS) is very stable and thus not toxic. At least that's what I've been told by a chemist. Sounded reasonable to me. And you're not supposed to eat your fiddles anyway. Matthias
  11. haha. I won't. It broke off in the pegshaper and I don't have a spare boxwood peg left. I will replace it soon. I still have to do adjustments on bridge and soundpost anyway, so I will have some time to buy a new one... Nice violin, Michael. Your ground and varnish surely have a lot of depth! Ernie: The color in the varnish is madder lake, bone black and a little bit cinnabar. The ground is a modified version of Koen Paddings Linea Cremonese. Nice workmanship on your violin. If you like long corners here are some photos as an inspiration: Nicolo Amati Corners I bought the fittings from Dick (c:dix selection). They are ok and a good value for the money. But I'm sure Eric's are much nicer, though I haven't had to chance to see his stuff so far. However, I have bought from Tempel before and the Tempel fittings are much better than the Dick fittings. Matthias
  12. I rub a bit of varnish on/into the areas where the ground is exposed. Then polish with "super nikco polish", which usually is a bit too shiny. During setup I'm not very careful handling the violin and touch the varnish a lot. This takes away a bit of the shine and it ends up looking about right.
  13. Thank you, Andrew! I have a large skylight with a white, translucent blind and a roller shutter. That gives me the possibility to switch between different lighting situations depending on the work that I'm doing. The blind produces diffuse daylight, which is great most of the time. But when I need direct light (i.e for arching) I can close the roller shutter and use my bench lamps.
  14. Don, there probably isn't a violin maker that never messed up the varnish. Try to rescue it as good as possible, then move on to the next one. This one is finally ready to leave the bench. Matthias