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scordatura

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Everything posted by scordatura

  1. Very nice bench copies. High quality.
  2. I thought nunzio was selling his varnish business?
  3. I wonder if the prominent soloist (Kavakos) has had arching correction done to the 'saddled" Strad mentioned above? Did Florian sell him the instrument? Sounds damn good. I've heard it live a few times.
  4. As usual Davide, your videos are so helpful to us. Ne plus ultra!
  5. How lightfast is aloe ferrox?
  6. I would suggest Rauch Tonewoods. He has some very nice wood and purfling for sale. https://rauchtonewood.com/
  7. What benefit is the weight in the middle?
  8. This really comes down to the sound and playability that you want. I recently played some Nicolo Amatis (small and grand pattern) that were wonderful for solo Bach but could not handle romantic repertoire. It’s the model people.
  9. True but I would think that unless you are subjecting the varnish to a continual source of UV the predominant exposure would be oxidation. Unless you are playing a lot of outdoor gigs. Albeit at a slower rate than UV would be. Just instinct here.
  10. UV is a great way to check if you are going in the right direction for Cremonese varnish adventures. The only variation between old and new is oxidation.
  11. I am interested in people's opinions on the tonal and playability effects of soundposts with different diameters.
  12. The problem with 3d printing is that for a full plate on some printers, it is too large to print. It must be done in pieces which is not an impossible task. Scrolls are much easier. I might be willing to have a go at it MikeC as I have access to a 3D printer and a CNC machine. Send me a PM.
  13. Valient effort Jackson. He doesn't understand nor will he understand. It would be nice to have more accessibility to casts or ct scans to 3d print. There has been some talk on MN in the past but no traction thus far. My own efforts with cad modeling (fusion 360) have stalled because I am busy with other things. Hope to get back to it soon.
  14. You can lead a horse to water but can’t make them drink...
  15. A cast (or the real instrument for that matter) can reveal edgework or what is left of it that templates will never do. What is not to get here?
  16. I can verify that Davide Sora’s instruments are spectacular in their appearance. The playability is pretty darn good too!
  17. There are plaster casts of archings and scrolls around. Most are not made available due to clients and museums view that they are proprietary and are not to be shared. I disagree that due to distortion casts are not useful. If a maker is trying to work out the areas that are in-between the templates that are available, a cast can be invaluable.
  18. The mass damper concept made me think of how some formula 1 teams were cheating by using a hidden mass damper in their suspension. Until they got caught…
  19. She probably has not played enough instruments or lacks the ability to verbalize the characteristics. That being said she plays at a high level.
  20. Andreas, I don't mean to be captain obvious here but what about changing to a different set of strings?
  21. My version from another post: I think that the way an instrument feels/responds is as important as the sound to a performer. It is tactile. Granted different players have different requirements or skill levels. Instinctively I do think there is a correlation between FFT spectra and playability. But can FFT determine how bowing variables respond when a good player is trying to change the sound? Some instruments have a lot of flexibility and others do not. Can a spectra quantify that? I would say it would be very difficult to interpret that from a chart.
  22. I agree. The main effect of this is tightness due to the cross arch. Tightness over position.
  23. I think that the way an instrument feels/responds is as important as the sound to a performer. It is tactile. Granted different players have different requirements or skill levels. Instinctively I do think there is a correlation between FFT spectra and playability. But can FFT determine how bowing variables respond when a good player is trying to change the sound? Some instruments have a lot of flexibility and others do not. Can a spectra quantify that? I would say it would be very difficult to interpret that from a chart.
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