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scordatura

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Everything posted by scordatura

  1. I wonder if Madoff ever diversified into violins
  2. I have not had any problems with the kevlar. I use mulitple knots to secure it. The other benefit is the thread is fine which does not create a bulky wrap.
  3. I use a kevlar thread that is great because it does not stretch and is as strong as anything you would find.
  4. Care to tell us what you use as a sealer and ground? I am not holding my breath on this one...
  5. The curator told me that Mann preferred the Castlebarco. I agree one dimensional sound. I loved both the Betts and the Kreisler. I preferred the Kreisler as I could push the instrument more without it giving up. I would kill to have either though.
  6. Did you read the article? Jensen a good player states that she was playing on inadequate instruments. Im sure she sounded ok. Professional golfers do not play off the shelf clubs. Professional musicians play the best instruments they can afford or find. You mustn't be a golfer are ya laddie?
  7. Agreed. The negative attitude is jealousy or frustration, which are natural human emotions. Why should we take something away from someone who is successful at doing something that most people on this planet couldn't give a hoot about? At around 6 instruments a year would gross 324k for doing somthing that is your passion. Not a bad life if you think about it.
  8. My own feeling is that while Zig's instruments may be overpriced, more power to him. He is getting the same money as Kinberg, Becker, Peresson and even older makers are going for. He is obviously excellent but he has been clever enough or lucky enough to have gotten the interest of Stern, the Emerson Quartet, Jensen, etc. This is advertising for his instruments. Get a big soloist to play on one of your instruments and you will watch your prices go up. Did the instruments themselves change? Probably not. It is perception. When I visited with Luiz Bellini a while ago, he recognized how Ricci put him on the map. It was by pure chance that when Ricci was in Francais’shop one of the other restorers pointed Ricci to Bellini’s instrument that was hanging nearby. That changed his career. He is a first rate maker and copier but without Ricci he may not be as recognized or taken longer for him to establish is name. It allowed him to eventually leave Francais and make full time. This process reminds me of golf clubs. If Tiger Woods plays Nike clubs then they must be something special. What many golfers do not realize is that while they are Nike clubs, he has a highly tweaked custom set--far from off the shelf. If fact what he plays would be detrimental to the average or even decent golfer. The same can be said for violins. An average player might want a "game improvement" violin that covers up technical inadequacies whereas an accomplished player has greater control and needs an instrument that has more potential to tap into.
  9. Don't make too much of this as this was not an empirical find out which is "best" test. All I can tell you is that my observation was that the Castlebarco lacked sonority (or the sizzle as Jensen describes)...not matter what bow or bows you used on it. You have to work to get that instrument to sound. I forget what strings were on the instrument. If memory serves I did use more than one bow, one of which was a Tourte. For the record, I wholeheartedly subscribe to matching a bow to the instrument.
  10. I find the above very interesting. I have played those instruments a few times and found the castlebarco instrument that mann prefered to clearly be lackluster tonally. It really does not have the sonority that the betts or the ward have. The first time I played it I thought nice fiddle but not a players instrument. Different strokes for different folks...I could be wrong but if you had twenty or so players try the three strads, not many would pick the castlebarco.
  11. Wow...that is one beautiful cello.
  12. I do the same with my drill press on the highest speed. I make sure that the cutter is not sticking out too far from the chuck. I use a bungee to hold the spindle down.
  13. If you are talking about the Vieuxtemps del gesu, it is in play and the asking is 18 million.
  14. If one is going to put that much money into instruments it would be smart to purchase those that have provenance. Certificates like hill, wurlitzer, beare, etc help. If you buy instruments with no provenance caveat emptor. Many if not most have a history. In my opinion there are not many attic, monestary, castle instruments that are undiscovered.
  15. Question for David Burgess: What is your instrument output to date?
  16. Yes. I would also add smooth or gritty or harsh, more core sound (fundemental) or more complex (more overtones). Yes but you need to have enough bow technique to vary the speed, pressure and sounding point (the lane that the bow contacts the string relative the the bridge and fingerboard). The relationship of the above dictates the volume and color or timbre I believe that the relationship of weight, density, camber, bow graduation, design and vibration speed (lucci meter) combine to influence sound characteristics. Leaving out the bow hair and rosin variables.
  17. Bows do vary quite a bit in how they sound. Some sound darker or brighter. There is also a difference in the ability to produce different color witin the basic sound. In other words some bows have one sound and others have more sound flexibility. It is also hard to not take into account the feel balance and weight of the bow when assessing sound. I like to find an instrument that I like and match a bow to the instrument. Certain bows bring out characteristics or compensate for quailties. E.g. a bright instrument can be matched with a bow that darkens it a bit.
  18. Being highly leveraged is always risky. The higher you fly the deeper you fall.
  19. I absoulutely mean to say this. If I may toot my own horn or bow my own violin, I have excellent octaves. What I mean is that it is MUCH easier to move the 1st finger when you are adjusting from one octave to another than sliding the fourth finger. When I am going to a higher octave I move my first finger closer to the fourth. I do the opposite when descending. The fourth finger shares the same tendon as the third. The mobility of the first finger is leagues better than the fourth. Another important aspect is to voice the octave in such a way that the lower note is slightly louder or more present than the higher. There are few things that are absolute in playing...well almost absolute. This approach to octaves is correct! Fingered octaves is another issue.
  20. I have done the glazing technique. It worked well. Excellent color saturation and the ability to shade the color if you wish. You might also research fulton's glazing technique. From what I remember it was described in Ed Campbell's little red book. One thing that is suggested it to apply a varnish coat over the glaze before it fully dries.
  21. For better octaves, focus more on the lower note. Adjust the distance between the fingers with your first finger not the 4th. Light finger pressure also helps.
  22. I am going to keep records of impact spectra. I want to have an idea how the temp and humidity effect things. Right now my workshop is in my basement which can get pretty humid during summer even with a dehumidifier. Also reading the strad letter about the effect of humidity in the ct scans regarding density reminded me about it. After all if you are going to take the trouble to measure things why not go all of the way.
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