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martin swan

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  1. Sorry but it seems to me to be the height of battiness to study the arching of violins in isolation. Violins are extraordinarily complex objects in which everything constantly affects everything else - arching simply doesn't exist as an isolated phenomenon, it is inevitably, inextricably, intimately wedded to thicknessing, wood density, variations in string load, and the various points at which it's fixed. No two violins with the same arching will sound the same ...n unless perhaps made with 4mm ply. In my rather Luddite world view, reguz's practice is antithetical to good violin-making. I haven't a clue what he's talking about but I know beyond a shadow of doubt that it's irrelevant to the construction of good sounding violins. That he should persistently return to Maestronet and pick fights with professional violin-makers is just darkly comical.
  2. So why post here? Are you hoping it's better than they say or do you maybe disagree with their appraisal?
  3. Very professional photographs - what do they say it is?
  4. If you don't have some scoop then probably you won't be able to use bow pressure on the G string in the low positions without provoking a buzz. So you will never make a good sound. As everyone else has said, your teacher clearly misunderstands the issues. In particular the idea that creating relief in the fingerboard will "ruin the old ebony" is very strange. Fingerboards are a disposable part of any violin, and they are intended to be shaped in order to function well for the player. Once they have become too thin through progressive adjustment, you just put on a new one.
  5. I genuinely was asleep in the garden, in spite of heavy and unruly bellringing practice at the cathedral! Don't tell me you also live in Wells ...
  6. Today? I was in London, damn missed all the fun ...
  7. I know the question was for Jeffrey but we sold one of these 3-part Gand Peres and I have played another - both were great violins with no tonal idiosyncracy.
  8. It seems you don't really trust the seller after all ...
  9. It really is an ever-present feature of modern French making ... for instance this Georges Coné, Lyon 1935
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