scordatura
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Everything posted by scordatura
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recommendation's for archival paper for label.
scordatura replied to saintjohnbarleycorn's topic in The Pegbox
Yeah. The art of label making is a matter of personal taste. Like the art of antiquing an instrument. Could be some photo contrast manipulation. Care to display your labels? -
recommendation's for archival paper for label.
scordatura replied to saintjohnbarleycorn's topic in The Pegbox
These labels look fantastic. Wonder where he gets his paper? https://www.instagram.com/p/Cg7S4RjowDm/?igshid=YmMyMTA2M2Y= -
That viola is very impressive.
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Yes.
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1677 Amati cello.
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1663 Amati viola.
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1672 Amati violin
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Currently there is a quartet display. 1706 Greffuhle Stradivari
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I will be in Washington DC soon and was wondering if anyone had the contact info for the instrument curators at the Smithsonian? I understand that they are fairly welcoming to visitors.
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King Crimson. https://youtu.be/YecBv-5JXmQ
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That is encouraging because the top I am currently working on has quite a bit of runout...
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Anyone want to speculate on the effects of runout on tops?
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Very nice bench copies. High quality.
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I thought nunzio was selling his varnish business?
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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.
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As usual Davide, your videos are so helpful to us. Ne plus ultra!
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How lightfast is aloe ferrox?
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I would suggest Rauch Tonewoods. He has some very nice wood and purfling for sale. https://rauchtonewood.com/
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What benefit is the weight in the middle?
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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.
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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.
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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.
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I am interested in people's opinions on the tonal and playability effects of soundposts with different diameters.
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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.
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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.
