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Everything posted by robertdo

  1. I think that the problem in identifying amber is that some classes of amber don't contain succinic acid which is usually the key signature of varnish containing amber. the other components can be shared by other "resin".
  2. Indeed, I think egyptologists found several tombs covered with paintings with still vivid colors.
  3. the Jade rosin is green. I doubt it's because the sap is green, and I also doubt that heating leads to that color. I would rather imagine they add something. I seem to remember that the Liebenzeller had some metal added (gold was one I think). Maybe the green comes from some copper oxide?
  4. Is she playing this violin here?
  5. You can even pour linseed oil in shallow plates (1 or 2 mm thick layers) and leave it like this near your window for few weeks, mixing from time to time. You will see the oil getting thicker, and it will dry faster once you make a varnish out of it. But of course a UV chamber renders this step unnecessary.
  6. the big difference, and a redhibitory one, between the Vermeer blue and a violin red varnish is that the blue is a paint, and is supposed to be opaque and covering. A varnish has to be as "transparent" as possible.
  7. I agree that red oxide will only stay brown or get a darker shade with time due to further oxidation. But as R. Hargrave said, resin itself will oxidize and change color given enough time. the best way to see that is simply to melt some colophony and carefully add some drops of nitric acid (to speed up the oxidation process). the color will turn very reddish. But when applied on a violin in thin coat the color is again brownish rather than red. However try to cook some colophony long enough to get a really dark brown resin and let it cool down. Break it into small pieces and look at the pieces. Inside them , like inside a diamond, you will see very red reflections. I think it has to see with the light diffraction at the place of micro cracks. It's a litte bit like glass. take a perfectly transparent glass and break it. then put back the pieces together. At the location of the cracks there is a color (blueish I would say but it can vary). Maybe the same s true for varnish layers. Rust has never looked red to me. I see it brown and I don't think iron oxide can make a varnish red unless it's so concentrated that it becomes a paint.
  8. Given the measurements of the piece of wood it seems difficult in my opinion to cut a piece large enough for a neck and still get a large enough piece of wood to make a plate
  9. Indeed. For example some cinnabar/vermillon pigment was found in one of Stradivari's violin, and this pigment is completely opaque.
  10. Compromise, compromise. Which price range have you been looking for? You might be surprised to find that a cheaper bow is actually the one that will suit you the best. try to swap the frog of your favorite bow with one of another one to see if this changes the playablity etc...
  11. Usually the copyright stops about 70 years after the author's death. So in about 30 years everybody should be able to consult the Sacconi book. Of course that is only if Google doesn't scan it and make it free now like it did for millions of other books...
  12. I would not do that with one of the 3 or 4 copies of the first Bible printed by Gutemberg, but it has always been clear to me that a "modern book" (or let's say an industrial era book) is just a book, that is words printed on a piece of paper, not a religious relic. So I write on the margin if I want to, I fold the corners, I spread the pages to see better etc... but I always say "sorry" afterwards...
  13. I wonder what can be the difference between a 25k violin and a 50k one when it comes to sound... Is there a kind of "sound vs price" scale available somewhere? Sorry I am being a little bit naughty but I have difficulties to buy the fact that someone can really link a sound to a specific price.
  14. How much costs the old 3/4 violin that sounds good?
  15. Maybe he simply thought his playing would be improved if he was playing a Stradivarius...
  16. In a suitcase, in the attic? So one can really find a Stradivarius in the attic after all...
  17. I still don't really see what this wood has that other wood don't have. the figure is not unique or amazing as far as I can see. It's not quilted, waved or curly or anything else. It looks pretty much like standard flamed maple, or is there something I don't see, apart of the age?
  18. the other question is: are you a good enough player to judge that the violin you would commission is good?
  19. Well you could ask someone who was "only" silver or bronze medal a the VSA...
  20. I suppose this is what you can call "the ransom of success" (translated from the french expression)...
  21. Maybe when women were better accepted in orchestras as violists it became more urgent to make slightly smaller violas.
  22. I have never heard of a special sign for shifting, but sometimes the finger number is indicated on top of a note so that you know you shift at that place. Also a "sul G" or "sulD" "sulA" or "sulE" indicates you have to play the whole passage on the G string or the D, pr the A or the E string. Consequently you know that you must shift at one point or another when the notes cannot be played in first position. But I guess the shifting is mostly dictated by the fingering to make the playing more fluid or easier (avoid too many string crossings etc...)
  23. Well I meant the contrary, but now that you ask I wonder if the sentence really means what I meant. Maybe a case of "lost in translation".
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