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Everything posted by PASEWICZ

  1. Not as such, but they do tell you about the split, quality, and consistency of the wood.
  2. The bridges I use have the long face of the ray on the manufacturers side. Also, the cut on these bridges is not square one side or another. In any case, when we cut bridges we are looking for certain things, long ray on the back is one, I do not let the blank determine our priorities. That being said, I cannot remember a time when that did not allow the manufacturers mark to remain. I do not see this as vulgar, but rather that the manufacturer has every right to be proud of their work too.
  3. Well we are all not that far off as it seems. Martin, I was taking from your posts that you put these into daily use, my misconception. Using these for conservation purposes, or as a tool that was mentioned earlier we can all agree on. I am not sure I would use them as "turd polishers", but even that is a "why not try" situation although pretty expensive and maybe a bit unfortunate in description.
  4. My first experience with this was a Storioni a colleague asked to show to one of his customers.....it returned with my bridge and the brand was filed off.....I must say not only did my bridge look different, but from then on, that colleague as well.
  5. Sure, I will absolutely do so when I am in the area. Of course the field I refer is at the bench, and my knowledge is based mostly on your statements. If you have been trained as a violin maker or restorer, I sincerely apologize for grouping you with the others. However, if that is the case I would be interested in where you received your training as some of your statements are antithetical to the reality that I and all of my colleagues are familiar.
  6. I am sure I have seen it, but it is not common. I agree with your assessment about taking responsibility for the work.....society needs more people in general to take responsibility for their work.
  7. Me as well. He came up with some of the most elegant techniques.....I will never forget his face when at the Miami Beach Federation convention you introduced him to me as Doug Raguse.
  8. It is not that far from having a belt buckle with your name on it in the 70's, or that ID bracelet.......Of course that may have been because of what you hippies were smokin..
  9. Thank you Jeff, we are trying to play nice.
  10. I hope this clears a few things up. I am happy to expound if I can be more clear. The last bit is that these are sold as remedies to RH changes....the tightness of the post is only one symptom of changing RH....believing or suggesting that this is an antidote is misguided to say the least.
  11. Not really sure what you are asking.....did you not read my last post? Dude you have to read, I posted it 14 hours ago! Oh, if it is confusing to you, my answers are in bold type while your post is not....
  12. You seem to mis-paraphrase a whole bunch of things throughout this discussion, maybe that is the reason for your confusion. Now, do you have any specific questions? Please also include your background as you choose to remain anonymous.
  13. This is posted on Paul’s FB Page from his son: Dear friends and family of Paul Siefried. This is his son Nik Siefried and I regret to tell you all that last night / this morning at around 1am Paul passed away. His family was with him til the end. I don't know what else to say. Me and his dear friend James Island will be having a memorial service early December. We will let you know the exact details as we figure everything out. As you all know my father was well loved by many people all over the world. Feel free to leave your condolences on his page if you wish. Thank you everyone for your kind words. - Nicholas Siefried
  14. Porteroso, This is not a new discussion and I believe you will find a host of answers you are looking for in other threads. It is also a very old subject matter, especially in the violin world, with new things being introduced as “improvements” that have not often stood the test of time. While there are many that have come into the profession that substantially moved things forward, the Sacconi tail gut is one that comes to mind, there have been far more that have faded through the years.....I dare say that both the successful and the horrible failures have had their cheerleaders, and it is always the case that the inventors are among the later.
  15. But yet, you still have no clue about what you are talking about and refuse to justify your positions. I am sure that is why you are anonymous.....it is easy to have strong words when you are hiding behind a bush. Put your identity where your words are and we can discuss the definition of keen mind, otherwise, I am sure there is some other board that would closer align with your expertise ...whatever that happens to be.
  16. Hardly! You can quote anything you want, the meaning of: ”And don´t forget that all the post cracks in the past have been caused by moving the post under tension.” Doesn’t change! What does change is the perception of remaining credibility when one follows up that demonstrably ridiculous statement with another about moving soundposts entirely tension free! Do you have any experience at a bench? Obviously not. Until you do junior, perhaps stick to commenting on things you have a clue about.
  17. Boroguecello, you are on the right track, and Hogo is correct. There are things we do with a real soundpost that you cannot do with these because of the design. Using the rigidity of the surfaces is one key advantage. Also, as Hogo touched on and I mentioned earlier in the thread and the year, humidity is being used as a justification for these contraptions, which in itself shows the misunderstanding of the effects of humidity on the instrument. Just jacking up the post to try to solve the problems caused by changes in RH is like putting a bandaid on child’s cheek to remedy chicken pox.....it might sound better, but..... This is a quote from one of the inventors: ”And don´t forget that all the post cracks in the past have been caused by moving the post under tension.” I think everyone familiar with instruments understands the folly here.....With this kind of total misunderstanding of the subject matter, it is hard to take them seriously.
  18. “I know how it works, you don’t know anything” is not a quote, please do not attribute it to me. To your question, there is a great deal of substance described in this thread, and 500 years of track record. The overall point is that the design does not show an understanding of how a post works, and therefore does not take into account those subtleties...I do not care much about the material as such when the design misses the mark so dramatically; although there have been countless tests with different materials through the centuries. Also, I do not accept your hypothetical of “why these would sound better”... I do not believe they do or can.
  19. Mr. Hamberger, to the contrary, I understand exactly how your post works. The problem here, as with the other sound post "product" that is out there, is you fail to understand how a real sound post works, or for that matter how wood works when the relative humidity changes. If you do a bit of reading, my comments will start to make sense. This is a very common problem with these sound posts, the "patented bassbar", or the synthetic hair that is out there.....they are all "invented" by people that have very little, if any, expertise in the field they are claiming to revolutionize.....your quarrel is not with me or any of those commenting: the realities are there, not being familiar with the concepts is the source of your frustration.
  20. The fret of the tailpiece is the strip of wood that runs perpendicular to the strings. When measuring string length you measure from last contact....so toward the fingerboard.
  21. Sure. What seems to happen is the player will have an understated sense of the dynamics and shape of the sound to the audience. It is still able to be heard well, but the blossoming of the tone can be moved further out. It is not an odd occurrence, and any adjuster when they work in a hall instead of the shop can readily hear the difference. I find it very informative when working with quartets, or small groups, and extremely eye opening when working with a soloist and an orchestra (unfortunately I have only had this opportunity a couple of times).
  22. This phenomenon can be increased through adjustment as well. We had the opportunity to do side by side tests and recordings of instruments both in a small ish room and in a hall with various adjustments; this effect was common to all we tested to varying degrees.
  23. Of course, and I can guarantee that was done in the Francais shop before a post was fit.
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