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Everything posted by bcncello

  1. Hi, Could anyone shed some light on this violin? Thanks
  2. I didn't bid on it but I did like the red color. So it is a relatively new violin?
  3. Hi, Please I would like to have information regarding this violin. Was it french? german? how about its quality? I liked the red back Thank you
  4. Going further, if quality of sound is the ultimate goal of lutherie, then could there exist a scientific approach? it would always be a matter of subjective tastes or of statistics. Till now science and scientific methods applied to stringed instruments, such as violins, have mostly been used to scientificaly explain what makes a good violin good, but have not been used (or failed) to explain why such violin was good. Edit: sorry Carl I hadn't seen your post, but there you have my answer
  5. I've decided to start a new topic to adress this question, rather to spoil Don Noon's What does the back do? Is not my intention at all to question Don Noon (and others) research, nor was it the reason that brought me to open this thread. Actually I'm very happy that people try to scientificaly explain how an instrument works, beacuse I think there's a lot of mysticism, economic interests, and build-up over the years beliefs on the subject. But I've been reading lately about the science philosopher Karl Popper and his works on the Falsifiability. Here comes an excerpt from Wikipedia (of course!) <<Falsifiability or refutability of a statement, hypothesis, or theory is an inherent possibility to prove it to be false. A statement is called falsifiable if it is possible to conceive an observation or an argument which proves the statement in question to be false. In this sense, falsify is synonymous with nullify, meaning not "to commit fraud" but "show to be false". Some philosophers argue that science must be falsifiable. For example, by the problem of induction, no number of confirming observations can verify a universal generalization, such as All swans are white, yet it is logically possible to falsify it by observing a single black swan. Thus, the term falsifiability is sometimes synonymous to testability. Some statements, such as It will be raining here in one million years, are falsifiable in principle, but not in practice.[2] The concern with falsifiability gained attention by way of philosopher of science Karl Popper's scientific epistemology "falsificationism". Popper stresses the problem of demarcation—distinguishing the scientific from the unscientific—and makes falsifiability the demarcation criterion, such that what is unfalsifiable is classified as unscientific, and the practice of declaring an unfalsifiable theory to be scientifically true is pseudoscience.>> So, what's a luthier?...An artist?, a very talented person?, a scientist?, a master on its field?...one might think there's no science in shoemaking but just a "savoir-faire" as the frenchs would said If the response is no, should lutherie become a science?
  6. Now you'd have to explain that term to Sundays
  7. Thank you, racket ball would suit my example
  8. BTW I'm courious if someone has ever record the sound of a violin without soundpost?
  9. Again I'm just a violin play..student! But when reading the OP question an idea came to my mind: Imagine the 'fronton game' (I'm sorry I'm not sure how it's said in english) but essentialy you must hit an elastic rubber ball with a racket, the ball flies off till it reaches the fronton wall which bounces it back. The ball would act as the sound waves The racket (or the racket net) would act as the violin top. It is softer than the wall, imposes direction, stile, angle, etc., to the ball. The wall would act as the back of the violin. It is harder than the racket and has not the same delicacy or accuracy. Its function primarily to bounce the ball back, and different stiffnes and roughness on the wall would directily affect its 'response'. Hitherto my idea If you ask how does the violin back do this? that's another question. Disclaimer: All information providen on this post has no reliability at all so take care and skip it if necessary
  10. Anyone knows the model name of that chinrest? I'm sorry I've found no more pictures of it on the net
  11. Just a newbie here but I won't make use of olive oil. It would become very dirty with time
  12. Completely agree. I posted the link seriously, I thought she (Kate) were very lucky there were a genealogy forum specially dedicated to the Mohr surname.
  13. Perhaps you could post on this forum: http://genforum.genealogy.com/mohr/
  14. Hmm..seems you're defending holy land from the unfaithful again.
  15. Thank Godness we have still some untouchable ones, like the Messiah or the Lady Blunt
  16. You must be refering to that one? Andrea Amati.pdf
  17. Thanks for posting that Roger, it's only true. Four years ago I partly 'sliced' the upper part of my left thumb when trying to remove a cello fingerboard. I held the neck at the scroll with my left hand while working with a modified knife on my right. The glue gave up suddenly and...don't want to remember anymore. Thank God I hit only flesh, not bone or joint but of course it could have been a lot worse. From that point onwards I always mentally prepare before and while doing anything that involves knifes or sharp edges (where my hands are, etc. etc.) and it applies from removing a fingerboard to opening a soft baguette.
  18. We are talking about the beginings of the violin here, so those things should more or less to be expected. Although painters could have their own ideas of how to represent an instrument I think the main thing to explain those bridge placements is not in there. I recomend (again) to have a look at that interesting article. Some things may need a second thought but it's plain that the first instruments of the violin family would have had inherit ancient building techniques, as for example a central support bar or a central soundpost which would allow for movable bridges over the top. Nevertheless it seems that in contrast with the great existing 'mixture' of stringed instruments prior to the appeareance of the violin, the violin itself has a birth in itself as an independent entity, which of course quikly developed its new and specific building and set up techniques. The viola da gamba seems to have been the other one 'independent entity' of those times, but more as a result of the convergence of many different forms of ancient instruments rather than being a completely new concept. Moreover I would think that the viola de gamba itself could have been influenced by the new developed building techniques of the violin throughout history.
  19. Not Bocherini? nor Macaroni?... Let me tell you that there's a true story about the 'old gold of Cremona'. Actually, under the spanish control period, a comission was made to supply the city with an enormous amount of spanish gold that was meant to use on a secret varnish recipe to apply on violins. The gold was carried on the 'Nuestra Señora de Atocha' galleon that was on its way back to Spain coming from the american colonies, but as you may know the ship sunk on the caribean seas so the gold never came. Cremonese luthiers then searched for an alternative way to varnish their instruments. That search developed on further experimentation with new pigments that lead in turn to the so famous cremonese varnish grounds we know today
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