Jump to content
Maestronet Forums

scordatura

Members
  • Posts

    1146
  • Joined

  • Last visited

Posts posted by scordatura

  1. I used to be an admin of a very active board. We used a different software (vBulletin) and had some problems with the search. It was better than here at MN but only a bit. The indexing was an absolute pig with resources though. We scheduled it for the wee hours of the morning. Fond memories...The board software is not bad othewise here at MN.

    Someone should sticky to use google to search.

  2. looking at the Cozio Calendar it lists Janos Starker as playing the 'Lord Aylesford Strad' I've always thought he played a Gofriller. Does he own both or has he changed cellos in the last 10 years?

    BTW that Del Gesu cello is really hard to play but I bet in the right hands it would be awesome!

    Oded

    Starker has not had the Strad for many years. When I was at Indiana in the early 80s he was playing the Gofriller. The Aylesford is a large instrument and Starker did not like playing it for that reason. His Gofriller is gorgeous.

  3. I keep coming back to Dominants--for violin and viola. E string or even A and D on viola are a different story. Many of the "big" soloists use them.

    Depending on how much playing you are doing I allow 5-10 days for them to calm down. They are a bit buzzy or metallic at first. Then need to be played in.

  4. As a young boy I asked the concertmaster of a major symphony about his instrument which happened to be a strad. Even at that time I was already studying about violin making history and lore. Much to my chagrin the guy said, "it is just a box with strings, what is the big deal". Needless to say I was pretty put off by his response. At that time I had played my teacher's strad for a second or two and was quite enamored with this strad thing. Turns out that the strad owned by the orchestra was an almost strad with a top by a different maker. It also had a big rectangular patch on the upper right side of the top. Later on another teacher/friend was the concertmaster of the orchestra and played this fiddle. Others in the violin section called it the "notoni". After a while the concertmaster gave it to his stand partner to play. It sure was pretty though despite the large visible patch. Kind of like the aging starlet that had a botched plastic surgery...

    At any rate thanks for the pics Michael!

  5. I think standard string length and other dimensions are important. It drives me crazy trying a new instrument and having to adjust the left hand. Keep in mind that string length, height, neck dimensions all combine to create the feel of the instrument. Do not underestimate these characteristics. A player evaluates an instrument as much on these things as the raw sound.

    BTW thought the same things when I studied that poster.

  6. The annual rings on the necks run at 45 degrees to a center line. The back in question is perhaps 35 degrees. I don't like the idea of not having well quartered neck blocks. It seems like some possible trouble down the line.

  7. I would like to add my review of tonewood.sk. I read the posts here and in other posts on this forum. I ordered backs sides and necks in spite of the negative posts. Three of the backs were very nice. The last one is very badly quartered. I would call it half quarter half slab cut. Three of the necks are useless as they are not well quartered. I have contacted Ondrej with no answer. He was very proactive when it came to taking my order. He told me on the phone that he would send me new pieces if there were any defects. The problem is that you can see pics of the maple but not the endgrain which shows the cut. There are no pics of the necks. Caveat emptor.

  8. I don't know Italian, but it looks like: "people with fat legs shouldn't wear lingerie"

    Reminds me of the lyric; "I don't care what I've been told but a big leg woman ain't got no soul".

  9. This sounds like graduating from the outside. :-) The sensitivity will be higher working from the outside because thinning from the outside both changes the thickness and the arching height making the plate less stiff. Working from the inside will both reduce thickness and increase the arch height, giving counteracting effects to a slight degree. I am thinking of the archheight as the "average surface" between the outer and inner surfaces then.

    I got the impression that he was setting the height after the inital roughing out. He said that he likes the thicknesses to be 3-2.6. He works very intuitively. He does tap tones but is against scientific approaches. He was working on a copy of the plowden and commented more than once that he was figuring out what to do with the archings. He has not worked from this model before. I do not think he meant radical things but compensating for the wood characteristics.

×
×
  • Create New...