Jump to content
Maestronet Forums

David Beard

  • Posts

  • Joined

  • Last visited

Everything posted by David Beard

  1. The first question is did he say that.
  2. It might be easier to find Vuillaume templates. (just kidding)
  3. What do you specifically mean as ground?
  4. But, what if by 'stain' you mean something along the lines of tanin or nitrates that lightly deepens the color of the wood structure. Or, what if by 'stain' you mean a colored glaze that penetrates pores and open structues of the wood, but is almost entirely transparent and appears colorless except when the light is favorable and the light path is comparatively long?
  5. The FoxNews of violins? Misleading rehash of old news. To be fair, I only glanced. But, it rather looks like she is agrandizing, falsely recasting, and taking credit for others recent work.
  6. Iridescences and thin film effectives are completely different mechanisms than the dichromism in classical violins. There is absolutely no connection. Dichromism (two colors basically) is much more related to how the sky air looks blue when the sun is over head and the light path is shorter and more direct. But the air can look in the reds to yellows and oranges when the sun is low and the light path through the air is much long. What happens still not the same as varnish dicrhromism, but it's much closer related. Dichromism in varnish involves the wood structure, transparency into the wood and reflection from it, and color of the varnish, color of the wood, and color in the ground. And light paths and angles. It's sort of an enhancement involving the wood texture and curls of what basically happens with any lake of transparent pigment. It is normal to any lake of color in painting that the apparent degree of coloring versus transparency depends not just on how you apply and make the color lake, but also on the angle and intensity of light (and viewing angle).
  7. Dichromism is seeing different colors depending on the angle and light path. So, see the color at the wood from high one angle short light path, and seeing the varnish color through a lower angled longer light path. Inteference colors are from some physical distance/gap being near in length to a light wave length. Barbs on butterfly wings or bird feathers, and oil films being classic examples. These are two unrelated and physically completely different color phenomena.
  8. I believe this reflects major cultural shifts. Not only is Guadagnini modern in the sense of looking at Famed Cremona as something outside his practice, he also is selling in a more modern environment. Less to a court or church that is providing for their house musicians. More to a pro freelance musician. But still Cosio's patronage was very important for Guadagnini.
  9. Well said. With appropriate caveats there's with having and sharing what you suspect will turn out to be true. Light microscopy of the varnish might be more prevalent than I realize. But still, the only such evidence I've yet seen publicly presented is from people showing particles.
  10. Have you tried such optical microscopy on a Strad example yet? I haven't. It seems oddly rare. I wonder who has. The only such images I'm aware of are from people who believe there are plenty of pigment particles if you go looking. I think I've seen at least some aparently similar images from Pollens, Nagavary, Echard, and this fellow. Why are people so quick to settle on an answer when there seems to be a shortage of evidence all around. Have other people tried this kind of non-invasive optical microscopy?
  11. Shakespeare's writings, as well as old paintings, suggest that leisure music was significant for nobles.
  12. There are small and dance master size Cremona instruments. But perhaps that's the unreasonable end of the scale?
  13. We know that large number of of instruments was in the estate. I don't think we know if the were 'in the workshop'. It's possible that some or most of those might have been distrubuted out side the workshop as 'out for sale'. I don't think we know?
  14. For most of his career, court and church patronage of musicians was I believe still the norm. Only toward the end of his long career did this start changing. Also, we should probably look at his decorated instruments as partly marketing effort.
  15. If you're talking about the transition to morticed in necks, that transition was underway in 1790s.
  16. I dropped a Russian translation in to Google translation. Pretty rough going.
  17. Number of trees is an in company rating of quality. This kind of thing is based on experienced subjective judgements. In exact or scientific terms such judgements generally don't mean anything specific. In a high quality good faith company, such things are intended to serve a divergence in the needs of their customers. Some customers want a reliably decent good quality at a great price. Some want a reliably great quality at a decent price. These aims conflict. So you introduce in-house ratings. But they're still subjective ratings.
  18. I didn't take a careful read through the thread, so sorry if this was covered already. A valley in the curve would indicate either an absence of resonance surround by presence of resonances. Or, it represents dampening around that frequency. Dampening takes many forms, including a non-radiating resonance.
  19. A bridge presents many adjustable points. Mostly, it can be more or less solid/heavy, and also it can be more or less opened up. Opening a bridge up can give it less of a filtering effect. The sound can end up more 'direct', and with more high frequency content. I can't claim any certain knowledge about 'this cut gives that sound'. But, bridges can strongly change sound. They do matter.
  20. How can you tell if a dog is a German Shepard just by looking? This is only difficult if either 1) you have no clue what a German Shepard dog looks like, or 2) the animal in question looks very like it is a German Shepard. In the first case, you can't tell because you're clueless. Such a person might even have trouble distinguishing a dog from a duck. In the 2nd case, if the picture looks very like a German Sherpard to those who know, then the question is difficult from just simply a photo because you can't just say NO! Now you need to check the real dog. And a pedigree might help, etc. In the case of the OP, it isn't a difficult question for someone like Jacob.
  • Create New...