Hans Pluhar

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  1. Quite right, a technical difficulty we have not been able to solve completey, but it is actually the exception because in this example the numbes are very close to each other. I am including a picture where these crossing isolines don´t really occur. Hans
  2. Yes, very well said, Melvin! I guess we tend to believe things easily once they appear in print somewhere or are expressed in figures and so on. Means we should never stop questioning and searching, things we violin makers actually constantly do because there are no definite truths in an artform like this. This is of course not to say that the Messiah does not have definite measurements:-) Cheers, Hans
  3. Yes, Mike, I have not been spending too much time on MN, this graduation topic just caught my eye luckily at the right moment. Cheers, Hans
  4. Hi again, by the way, I did not have the pleasure to measure the Messie! I used the figures of the Strad poster to create the color map. Just for clarification. Kind regards, Hans
  5. Hello Michael, do you have the "Pringle thicknesses"? Can we have a look at them? Cheers, Hans
  6. Hi there, I made color maps of this one, might be easier to understand the figures. When judging top thicknesses I like to have a look at the back thicknesses too. Here the centre of the back is substantial. Cheers, Hans
  7. hi emviolins. Thanks. Not exactly off my bench, but I just found out the young violinist playing Bartok on my violin here http://www.hanspluhar.com/stradivarimodel.html won a concertmaster audition for the Aachen Symphony Orchester in Germany with his Pluhar violin, so that is nice to hear..... On another note I just came across this and I bet many of you know this since it has been viewed more than 2,5 m times. Anyway, sorry to bore you...but I found it wonderful especially the bit how this clarinet sounds in the end! So worth waiting for the end. Hans
  8. In case you were wondering how to choose your wood, some people have super skills at it...... Cheers and have fun, Hans
  9. http://hanspluhar.com/bvmafhole25.html This is a close up of the inside on a Rogeri Cello. One can see a few things: The basic layout was made on the inside. There is a line showing the body stop. One divider marking for the outside nick. A couple of tries laying out the bottom eye and wing showing a bigger circle around the one that was cut in the end. The actual is also lower. Two scribe lines showing the direction of the wing which have been discarded. The one that was used is lower. Maybe there are more things I have not seen? Best, Hans
  10. Hi Roger, thanks for this eloquent contribution and also your praise. It means a lot to me to hear it from you! You are absolutley right in assuming that my instruments will not wear like the classical Cremonese ones did. There are many reasons for that. Charles Beare told me some time ago, he thinks most of the wear pattern we see on the old Cremonese happened in the first 25 years of their life. This leads me to believe that the varnish must have been quite soft and taken a long time to cure. Playing habits were different then, cases were different. There was no climate control like we h
  11. "Chung recorded with Solti on several occasions. With the Chicago Symphony Orchestra, in 1979 she recorded Mendelssohn’s Violin Concerto for video" from: http://csoarchives.w...yung-wha-chung/ In 1979 she would have been 39......if I did the math right. Not sure though if it is the "Harrison" Strad. Hans
  12. I do mean drawing 1 but: yes I think you are right, the lines I am referring to are probably just pores cut along their length (not medullary reays). Hans
  13. Hi Guy, the way I remember the correct direction of the grain is that the veneer should be cut the same way a rib is cut. This way you see the medullary rays in poplar as longish lines parallel to the purfling as seen in Cremonese instruments. In your case that would be like drawing Nr 1. Best regards, Hans
  14. Thanks, Joe and all the others for your positive feedback! I am not sure if pristine instruments are more common in Europe than America....(?)... Best regards, Hans
  15. Hi Chris, thanks for your kind words. While I have the greatest respect for the makers who do truely fine antiquing, this technique has never been my cup of tea. I have also reailzed that antiqued instruments sell quicker than new looking ones, which has forced me to work harder on sound to make up for the slight disadvantage. Also one has to pay more attention to other details of the woodwork which might have been discussed in the thread you mentioned which I have not had the time to look at unfortunately. I find a varnish successful if it allows me to see the details and properties o