scordatura

If you remember what AR said about bridges, he stated that "mass is more important than tuning". I have met Andrew before and have noticed that he likes to make a general statement based on his experience. For instance he said that thickness (thinning) only goes so. After that arching takes over. Sticking with Andrew and playing, I had the experience of him coming to my home with 4 or 5 of his instruments. We were lucky that he had some in his shop for a tune up and some that were just finished. He was very interested in how I play and how he could taylor an instrument to my playing style. He also played my violins. While not a professional player, he plays well enough to get an idea of how they respond and their general characteristics. I think what they were all saying was that the instruments are what they are and they strive to get the most out of them by playing them themselves and then having the player do their thing and adjust from there. I think that in Andrew's case he was as you are saying, overstating for effect. For what it is worth, I think Andrew Ryan's instruments are as good as any made today in terms of sound and construction. Particularly in terms of antiquing.

Davide. I wondered the same thing. Fan Tao and the powers that be must have voted to make it public. I have considered going to the live acoustics workshop in the summer but haven't been able to fit it in.

I was also wondering the same thing.

This may also be of interest. https://youtu.be/leRTaPfEE68 Same author as the Strad article.

I have noticed that Strads have a longer flat region than DG. This is a broad stroke generalization and prone to exception. This makes me consider if a longer flat region makes the arch higher in the bouts and therefore stronger or is a more curved long arch stronger than a flat one. Another consideration is when the end grain comes into play at the ends of the arch. Sooner by a more curved long arch and later by a longer flattish region.

https://youtu.be/tjRrISX33hY History of the World Part 1 - Art Critic

Agreed. Schoenberg also wrote Pierrot Lunaire a really cool piece! Below is a self portrait by Schoenberg.

Love the cubist approach Jordan! Picasso and Braque would be proud.

Be careful of your quips. Charles Pollock, Jack (Jackson Pollock), 1930, pencil and brush and ink on paper, Smithsonian American Art Museum,Transfer from the Archives of American Art, Smithsonian Institution,

@Michael Darnton have you given up on a shellac ground?

Has anyone played a Roger Hargrave instrument that has been treated with plaster of Paris? If so what does it play or sound like?

Looks like you have done a good job of matching the maple to Don’s top. I have a couple of torrefied tops that I will be having the same challenge to match. Did you play the violin with the old top on? It would be interesting to compare with Don’s top. Can you show more pics?

https://maestronet.com/forum/index.php?/topic/347278-your-experience-with-“boveda”-2-way-humidity-control/

This is not always my experience. Meaning Evah Pirazzi strings are high tension and quite bright.

This is a good point. Sounding point or the lane that the bow is tracking relative to the bridge and fingerboard is critical in sound production. The extremes of this are ponticello (loud and bright near bridge) and flautando (soft and dark over the fingerboard) To best eliminate variables, it is wise to be mindful of the sounding point, bow speed and vertical force (weight). Especially when playing the same instrument for comparison. Experienced players are always manipulating these variables to produce the desired sound.

Yes they work pretty well. Search for a thread here on how to recharge them.

Hi Don. What do the squiggly grey lines represent?

Whoa those are some seriously long corners. No doubt to be shortened but really?

Actually glad to hear that because I could not place the F holes or instrument model! Very nice by the way!

What GDG is the above modeled after?

David A.T. You could make a macro function and/or a template file in excel to do the work. Probably easier than trying to explain how to do it. You could post the macro here for people to use. And before someone chimes in, yes macros can be used to do evil things...

Like the color!

Heifetz played on unwound gut D and A. He used a steel E and metal wound on gut G.

I am also curious about this. Here is a link with some discussion I would suggest using Google to search for things on MN. The native search engine is so-so. e.g. Kremer rosin oil site:maestronet.com

Not sure how much they are doing with cases/accessories lately but here is their contact info https://beinfushi.com/contact/.