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scordatura

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Posts posted by scordatura

  1. 12 minutes ago, Michael Darnton said:

    I think I have mentioned before that I know a STRAD with harlequin top *and* back to the extent that I had to put the main light on one side above the instrument and the other side below to make them the approach same brightness for photos, and this was a universal fave of the many who got to play it. So I'm going to say it doesn't make a bit of difference, tonally.

    Or maybe it is even positive.

    I've made a few with more runout than most would tolerate with no evil effect.

    That is encouraging because the top I am currently working on has quite a bit of runout...

  2. 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.

  3. 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.

  4. 1 hour ago, Don Noon said:

    Does anyone else think this is a lame way to avoid glue ghosts... by washing out the natural contrast of the entire violin?

    To be picky, oxidation isn't the only thing going on, color-wise.  Torrefied wood is processed in an oxygen-free atmosphere, so it is not oxidized.  And UV does things too (although I don't know the chemistry of this, or if oxygen is involved).

    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. :ph34r: Albeit at a slower rate than UV would be. Just instinct here.

  5. 1 hour ago, Michael Szyper said:

    IMO It is unlikely that cremonese used annatto as a wood stain. First, it is a positive stain (not hiding Winter growth in maple). Second, it has a orange uv-fluorescence. Cremonese wood usually has a fluorescence extinction in the upper layers.

     Nevertheless, I second that it looks beautiful. 

    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.

  6. 4 hours ago, MikeC said:

    I have 3D printable files. I don't have a 3D printer though.  A friend of mine has one and I asked him to print it for me but he never did get back with me on that. :(  

    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.

  7. 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.

  8. 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.

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