cbouts

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  1. Synesthesia, Yes. And thanks. I was always made fun of also in ensembles due to the fact I couldn't respond while someone was talking to me while playing music in a trio or quartet like talking back and forth. I simply had too much color going on in the brain at the same time and couldn't speak. I'm not saying I have waterfall displays going on in my mind its different than that. Its as bright as staring at a light, then closing your eyes, and seeing the afterimage, and right before it is too dim, as the rods and cones adjust to the light - take an instrument and then watch that afterimage start changing color but its not your eyes. And then its pretty much connected to the language center of the brain some how or another. Met a bass player who played jazz who understood me once at the University of North Texas. We sat and talked for hours about hillarious moments where he got so wrapped up tight in the music that he had issues drooling. I have talked with some in person that describe it as color bursts, zigzags, something like designs of a kiwi fruit cut in half that change shapes but are monochrome (black and white) in a similar fashion to a color burst, and them some that only have speech problems and no color bursts. My favorite musician was one woman who would complain to me to tune my violin because it was "too blue - TOO BLUE" No waterfall displays in the brain but as I see it its more flat to me. Like I can look down on it on a table and see it on a piece of paper.
  2. Grin. i keep laughing at the sign. ..and stuff
  3. My apologies I missed the link! LINKMAN where are you to slap my wrists?!
  4. Omnobono your one piece back strad with medium width flames slanted downwards to the lower right is the 1710 Vieuxtemps http://www.cozio.com/instrument.aspx?id=1359
  5. Jacoby my apologies. Sometime soon our paths will cross.
  6. Thanks for the email I received to repost. There are some kind hearted and wise people in Europe that I had no idea. Thanks. Jacoby, I have a client not 173 miles from your shop that commissoned two of my violins a couple years ago. There will be a day when I might need your help and I couldn't imagine anyone more trustworthy than you. I have a spreadsheet I updated a month ago and put your name and phone number in there for A. Cavallo Violins should my client have any needs. Yes the 1741 Vieuxtemps Stoutzker is the Mona Lisa of violins. To an outsiders perspective this is hard to understand because many do not reach the heights of playing as a master violinist. The feeling of the bow under the fingers and the snap of 32nd notes in quick passages where the violin must respond quickly or having a violin that will fill the hall with sound. And an instrument that sounds deep and projecting from the G string and lyrical well past 10th position without getting crunchy on double stops. Finding an instrument that has all these small details is difficult. When driving your career with an instrument such as Heifetz, Ysaye, Meyers, Zuckerman, Pearlman, Ostrakh, Szeryng, Ehnes, Bell, up and coming musicians... the list is endless.... you have demands that must be met perfectly. Having a violin like the 1741 Vieuxtemps in your hands is historic and important. That said the instrument is useless until the trained musician picks it up. A Monet is worthless in a vault at $200,000,000 until you crack open the door and shine light on it and hang it in a gallery to be seen. The 1741 Vieuxtemps Stoutzker finally is out of the vaults at J & A Beares and I'm glad its finally in the hands of Anne Akiko Meyers who has an incredible vast skill and talent and the instrument will be heard and presented for a lifetime of music properly. Its no wonder the boys at J & A Beares decided it was time to relax and step down. That made sense when I got the email with the photo of Anne holding the Vieuxtemps. There will come a day when 20 million for a cremonese violin will sound cheap and wont be scoffed at probably in 25 years. I dont see that as being a problem. The nonsense that some musicians feel an instrument that sits in a vault looses its tone in my personal opinion is quite wrong. Bring them out and set them up and wipe the grin off your faces as and hand them over to smiling musicians and just let them play. There is no harm in them sitting in a vault. If there was harm done nearly all the fine cremonese violins by now would sound awful. Listening to some clips of the 1741 Vieuxtemps Stoutzker, it seems that this instrument has not suffered at all. It sounds fantastic! Find another instrument that can preform for sound like this and tell me it is not the Mona Lisa of violins. These few Del Gesus of the period are exciting and dramatic and fun. To the ear in a concert hall you are hearing a soundscape that is unique. Compared to the 1742 Dushkin played by Pinchas Zuckerman - its less fuzzy sounding and more clear. Listen to Rachel Barton Pine play the Ex Soldat with the longer F-holes - the Vieuxtemps is less nasal in comparison. Its a step ahead. The clarity of the 1741 Vieuxtemps above 10th position does not choke as easily as the other Del Gesus in double stops in recordings I hear with multiple musicians. I can keep going on and on comparing many more musicians who play fine excellent violins all of which are world class musicians. I crack up everytime I see the video of Josh Bell playing the Vieuxtemps and going through the Ysaye Sonata No 2. and he gets all sweaty and into it. (lol yankee doodle) Like a kid in a candy store with that violin. That should say something about how it feels to play the instrument. There are small auditory details that I listen to consistently at my bench while I work and make notes of that can be heard in these recordings or in person in the concert hall that might be related to the musician struggling with the instrument in their hands or the bow they are using. Zanjia is very correct in saying that 10% instrument 90% musician. However the above I am speaking of is that final top 1% cream of the crop that is the top 4 or 5 violins in the world. In my opinion the 1741 Vieuxtemps outshines in all areas. After the email I received from London early this morning just to simply describe myself as it might finally make better sense to the rest of the world who dont know me well enough. I don't know how to describe it well but I'm one of the few people that sees sound in color? You might find some musicians who can describe this to you. Certain tone or frequency of sound has color and shape mentally to me. I play an instrument a viola violin or cello and draw mental pictures of the sound scape which is great for being able to adjust instruments. So going to the symphony is an auditory adventure in 3D especially when you are used to hearing just one instrument at a time Putting that in perspective when you listen to the 1741 Vieuxtemps that instrument is wild. It is a strong and deep instrument with endless possible color and textures depending on how the musician wants to push it. Listening to other instruments which my sound library is pretty extensive - I don't find one other instrument quite like this one when I listen to it. I have yet to measure the frequency response of recordings compared to other instruments to see what comes up. Just drawing a mental picture of the sound is not enough. We should test the sound scientifically in future recordings later down the road. Some are jealous that Anne Akiko Meyers now has 3 violins to choose from but from a listener perspective its earcandy. You have your Vieuxtemps to listen to but now you also have possibilities with the Molitor and Royal Spanish for certain pieces of music where they might fit better. Perhaps certain pieces something needs a more lyrical strad like sound and the Molitor is perfect for the piece. What if we need a warm even comfortable instrument for a trio - BRING out the Royal Spanish please... But for heaven sakes if we are attempting the Elgar Violin Concerto I want to be sliced and diced with the sound of the 1741 Vieuxtemps. (Pinchas might have a run for his money if Anne ever battles Elgar on this violin) - Btw holy hell what a treat to have been at Carnagie Hall to hear Barber. Some history background for our Vieuxtemps. 1741 Guarneri Del Gesu only made eight violins that we know of according to the 1931 Hill book. Seems that year was slower as 1742 picked up to 13 violins. (some possible violas and cellos might not be accounted for - Del Gesu who was your real teacher?) Count cozio thought the Vieuxtemps was too high in the ribs and sounded small in tone when he had the violin. Which THANKFULLY the violin was left alone and not thinned out and survived a scraper when it landed in Yehudi Menuhin's hands as he compared it better than the 1714 Soil Strad. Ysaye had this violin on loan. And Phillip Newman played the Vieuxtemps to Ysaye the night he died at his bedside. There is every reason in the world to respect and get excited about these world class instruments for a good and healthy reason. They are world treasures steeped in history. There will be a day some 30 years from now when the experts today are no longer around which will leave a small few people to know and understand and care for these instruments. How one couldn't wax poetic about a historical violin such as the 1741 Vieuxtemps Stoutzker when so much music we know today was composed and preformed on this very instrument. In closing. The instrument is excellent - has a worthy player, and is more than worth the money spent. I look forward to hearing more of this instrument in the future. I'll be stepping back from maestronet as I have quite a bit on my plate with working on reducing my wait list as well as investigating more about some non-profit work similar to Dextra Musica - I would love nothing more than to see more musicians in the USA not have to worry about astronomical prices on fine instruments and be able to support budding musicians in their endeavours. Cheers.
  7. Edit - Sadly Maestronet has turned into a place where I do not belong. Cheers.
  8. Very busy and have filled up most of 2013 and booking into 2014 already. Backing away from Maestronet to stay focused. Drop me an email if needed.

  9. cbouts

    Maggini Model

    Zanjia there is always exceptions though. Filippo Fasser is a fine maker who makes good Maggini violins where probably most modern makers wouldn't today. - He lives in Brescia and makes some really great instruments. (Edit: Ive heard his violas are stunning from someone here in Utah who has played one of them) http://www.filippofa...nti.php?lang=en
  10. cbouts

    Maggini Model

    Ive played a few Magginis violin and a viola. I'll speak much higher of the Viola. HAHAH. The one violin recently not long ago was too reserved and laid back for my tastes. No punch or drive. I felt like I had no fun on the A or E strings above 4th position and simply no bell like overtones. This is common as far as i'm concerned with Maggini violins and some of the style of the brescians due to the arch shape, model, and some other aspects of the age and amount of repairs and modifications these instruments have undergone. The G and D strings were a little bit oddball sounding. Uneven. The G string would growl slightly but reach to the D string and you get a a nice tone but then head to the A string, and you would have to back off on the bow quite a bit but then have to bite hard on the E string to really pull out any even double stops above third position. Was a confusing violin to my ears underneath the chin to play. Uneven and simply due to the fact unfortunately it had 200 years worth of repairs and cleats and glue and luthiers on the inside of it. Lovely instrument and great condition with excellent documentation. But simply just wasn't something that was going to peel the paint off the back of the concert hall. The Brescians made good violas, - not the best violins. Get a good modern Del Gesu and skip over something that is going to sound like 200 years worth of repairs.
  11. Report it. I have had one of my commissoned instruments walk one time. It took 9 months for the instrument to come back to me but eventually I got the instrument back on my bench. --- EDIT... but never ever ever.. if for even the slightest moment you get the idea that you are putting yourself in a situation where your safety might be an issue.. drop it. Its not worth it. But after the situation I went through with that instrument, its best to report it and get instruments back to their rightful owners.
  12. Hmmm. 10th position I start looking at setup issues and really nailing down a setup that is perfect for the musician. Is the fingerboard perfectly planed, good solid seasoned ebony. If you are screaming out some Ysaye sonatas and digging in up there and the ebony is bending slightly under the weight of your fingers if you are transitioning quickly and landing your fingers hard down. if its a thin or floppy fingerboard depending on how delicate of a touch you play.... this can cause some intonation issues as well. Do you see any dips or worn areas reflected in the light when you look from the nut of your violin and aiming the fingerboard towards the window holding the violin in your hands underneath the strings anywhere? This might let you know its time to get your fingerboard resurfaced. Even adjusting small things with the bridge height can bring some intonation issues in 10th position in check. Just a few ideas for you from a luthier perspective that might be a cause which could possibly be a quick fix. Ive seen some musicians come to my bench and we quickly adjust a bridge or a minor change like that and suddenly it feels like a whole new world has opened up when the musician felt like they were playing badly when infact it was a simple instrument setup issue that needed to be customized.
  13. Yah, was some nice maple I had set aside. 2 necks will get carbon fiber reinforcements which will really be nice. Cant wait to have this batch done as the del gesu influenced model with the reinforcement is the first of my 2013 models i'll by using on violins. Come feburary i'll relax a bit and finally catch up. Coffee in hand and glue is warm.. Cheers.
  14. Stanley Ball Vise - They are trash - ordered it awhile back ago on amazon I believe some 9 months ago. The threads on the inside are wearing out and shearing and it gets stuck on the clamp part. I wish bogaro and clemente would come out with a mini-version of something like this. Half tempted to order another ball vise from bogaro and clemente and get a nicer clamp vise and mount it to it. - I have thumb screws in my bench ive drilled where my pins for my half templates also hold my moulds while I am gluing ribs and linings and such... but I love this clamp while working scrolls and such, or details on pegs, end buttons while working custom fittings... I use this little stanley quite a bit but its simply wearing out and a pain to adjust. (sorry the photos are not rotating for some reason)
  15. Christmas is certainly the busy season! it will be feb before these are done for everyone though. . Now the bandsaw blade today started ticking and I forgot to order more blades. (facepalm) - scrollcarving party tomorrow if my hands can hold up.