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scratchy rosin

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  1. The string can have more tension for the same frequency if it has a heavier guage. This will increase the forces to excite the top plate.
  2. I already have this stereo microscope for other fine detailed work such as customising fountain pen nibs. (It zooms from x7.5 - x50 and gives a useful 4 inches of working distance) This was the first time that I used it for a bridge. I found that it permits clear, relaxed vision for every task, from sharpening the blade (on 3M lapping film) to shaping the kidneys. I have x10 loupe but it has a very close working distance and it uses one hand. The head mounted magnifiers could be good too - depending on the working distance and the magnification.
  3. I was trying the My Gallery link - it seems to have problems with permissions and no options that I can find to resolve the issue.
  4. I was pleased to complete a bridge using a microscope to assist the carving and measurements. This was an Aubert Luxe blank fininshed to a Hill pattern,
  5. scratchy rosin


  6. There is only a slight twist - possibly introduced at the grafting operation. Originally there would have been a baroque neck and fingerboard. The rest of the twist is introduced by my photography - attempting to avoid reflections. I enjoyed reading the stories of Deconet selling these "adjusted" instruments after playing them in a concert. There was also a theory of his helping Venetian makers dodge local taxes by selling them on tour. It may be just a fake label but it would seem a strange choice to imitate
  7. The instrument has been out of circulation since around 1930. The back is 2-piece flamed maple with a button ebony crescent and dark hardwood pins. The neck is highly flamed and grafted to a fine scroll with deep chamfers. Scroll is unflamed pale maple and pegbox has an upper "patch" repair but no bushings. The fingerboard is a stained darkwood that looks like fruitwood and is cut very thin compared to modern boards. The top is very textured dark amber varnish on fine grain spruce with chin wear on the "wrong" side. Several stable crack repairs around treble f-hole but none under bridge or around the soundpost. I will post a photo,
  8. The handwriting does not look very "educated" with the mix of italic and roundhand letters. The lower case d is used for deconet on printed labels that are on the internet.
  9. Can anyone recognise the first word please? Ridutto? Adapted? Thanks in anticipation, Alistair
  10. I was repairing an old Scottish 'cello today and enjoyed this note and a less ostentatious pencil message from a Dundee repairer. I have secured the open edges but there are some old cracks on the top that would be better addressed by taking the top off. Is the note writing still something that modern repairers like to follow?
  11. Rebuilt more than two years ago
  12. Hi Allan, It is not so much the wood texture, as the development of the wood texture through layers of correctly applied varnish, that is worth preserving and appreciating. Many older violins that have survived the last 100 years have been polished and scraped and repolished by various owners or even by repair shops. The french polishing of even the very best violins was quite a common practise through this time period, since performers were increasingly aware of how shiny some other player's fiddle looked and tried, or asked their luthiers to get the same gleam from their own. In removing the uppermost shine from new varnish using pumice (or tripoli) and almond oil if directional, longitudonal wipes are used with a brush or by hand, then minimal texture is lost and the desired surface reflection can be achieved. This then ages and settles into the best kind of appearance in my opinion. I currently have two violins that have had a "recoat" on the top, one has no texture left and the other I brought into a better appearance by using the above technique. The oil is best used as a lubricant and a carrier for the abrasive, you don't really want a setting oil to add to the mess! My advise would be don't rush in and if in doubt just leave them as they are. Remember that "untampered" violins are getting rarer and rarer as time goes by.
  13. Thanks Tim, Dean, I like to have a background with "Bokeh" ( A GREAT WORD) that is neither distracting nor completely flat. I am addressing the technical challenges of getting fine detail and texture but not at the expense of some 3D appeal. We spend our lives looking at objects that are set in random mixed lighting and the dynamic of this is what generates recognition and mood. Dean, the response of different monitors to low contrast parts of an image is very frustrating. I have two computers that I use regularly and a number of laptops and even when fully calibrated the differences tell me that there is a long way to go in this technology before we are all safely looking at the same interpretation of an image. I wish that you would take some violin photographs soon and let us see. On the Topaz - I had a go with a different violin, the back this time and the sharpening is not so impressive. The exposure and lighting for the back should really be set differently to get the best from the scroll.
  14. My sharpening tips: 1. Adjust levels in RAW mode first at the full as-shot size (I use Bibble for this and browsing the camera). 2. Crop to the image shape that you require or use a 3x4 or 6x4 set ratio. 3. Transfer to Photoshop Elements (or CS2) heal any unwanted dust or background distractions. 4. Resize to the final viewing size using the "Bicubic Sharper" option to getthe most from the original. Now for the final sharpening (it is only optimised for a particular 100 % zoom) there are several options: 1. Auto Sharpen - no options or customising. 2. Adjust Sharpness - better selection of size, amount and defining the type of blur (experiment). 3. Unsharp Mask - Analogous to the old darkroom technique - with amount, radius and level controls. 4. Use a third-part plugin like Topaz and decide on the many parameters for controlling edge and lines. Take frequent breaks from the screen you could ruin your eyes doing this for hours.
  15. Seth, Thank you very much for looking and for your encouraging comments. I still have a lot to learn and this forum is a great way to pick up hints and tips from sharpening gouges to sharpening pixels. Experimenting with lenses and lighting was the biggest benefit but frustration with color calibration and sharpening the digital data back to the actual image from RAW is equally worthwhile. Apartmentluthier, I will upload an PSE 5.0 auto-sharpened file at the same filesize for comparison and also a larger (~ fullsize?) if you would like to experiment with more/less sharpening. I am not fully conviced that it is worth the complexity and cost but the line recognition and anti aliasing seems to work.
  16. Why are there no Wynette Tassels 'n Fringes?
  17. I downloaded a trial period of the Topaz plugin for Photoshop Elements. From here Topaz Plugin This is a first attempt but there are many other options to try.
  18. Site URL Change to English Language at Right Hand Column. (I have not used them yet.)
  19. Sorry Barry, I will try again in plain speech. The camera lens and the diameter of the fully open shutter means that there is only a limited amount of the image in front of the camera that can be in focus. This is in-focus region is at the distance shown on your lens scale but only as deep as the "Depth of Field" after that it goes out of focus again. If you look at the Java Calculator link that I posted you can see what the depth of field is for your settings. Ideally the strings should be in focus as well as the top and even better if the scroll is still sharp. Shooting digital means that you can take a lot of shots turning the focus ring a tiny increment at a time and then select the best compromise when reviewing your work on your PC. I hope that it was a bit clearer. P.S. Tom Vadnais is certainly "Outstanding in his Field"; to quote one of his Europe captions. A beautiful site well worth a visit - thanks. His Site Here
  20. It is worth bringing the depth of field to be from the corners out to the top of the bridge. The string glare is a lighting issue and the hardest to clear without coating the strings. The "silking" can be improved by the resize method, if you select bicubic sharper it cuts the aliasing or averaging mess.
  21. It is interesting that the saturation and "vibrance" are increased for the popular market. I guess this has more to do with psychology than transfer function - warm happy pictures! Fortunately you can read the calibration from the above "Imatest" analysis and reset the in-camera processing for jpg or do it in Bibble or Photoshop for RAW as you suggest Michael. I spotted my corners were a bit messy so I set up again before I tidy all away.
  22. Thanks Seth - I want to get a really big one of your cards now That Nikonian site is a fantastic help. This #15 varnish problem has been driving me crazy.
  23. The "Imatest" suggested better color accuracy in the red/yellow when set to Adobe RGB mode. This is at the expense of "forest-green" but apart from string silk this is not a problem. I suspect this is only worth selecting if working with this out-of-calibration color range. With respect to the original question these were the settings:- Focal Length 82mm (Equivalent 123mm for 35mm film) ISO 100 Aperture f/4 Speed 1/30 Tripod with no VR Kelvin 3500 Color Mode Adobe RGB II
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