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tarisio

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  1. The link is not displayed ? Look for this in the German Wikipedia: Wilhelm Busch (Instrumentenbauer)
  2. Looks very pleasing to my eye! Stainer pattern with baroque length fingerboard, high archings and a baroque style bridge. It does not look like the millions of German factory made violins. Reminds me of my Wilhelm Busch violin (NOT THE POET BUT THE LUTHIER, see the German Wikipedia: https://de.wikipedia.org/wiki/Wilhelm_Busch_%28Instrumentenbauer%29%C2'> If you want to play on it, keep in mind it has repaired serious cracks. It all depends on how the repair was done ...
  3. Hi Ming Loo, it's the opposite with me ... I have learned to play classical guitar in my youth for 6 years but was very interested to play and make the violin. Now as an adult I have decided to learn cello two years ago and I love it very much. Since december 2008 I am learning the violin and I love it like learning the cello. So if you have any questions about the classical guitar don't hesitate .....
  4. quote: Mastix 10g weicher Kopal 5g Farbessenz 100 ccm Lein ol 5 ccm, nicht gekocht aber recht alt means: mastic 10 grams soft copal 5 grams color essence 100 cubic centimeters (...essenz is concentrated liquid) linseed oil (german: Leinöl), not boiled but considerably old
  5. I know the Grivel story and although there is no proof for its authenticity there is a certain probability that the Cremonese makers all went to the apothecary to buy varnish or at least the basic components. quote: Apparently the Cremona varnish system got lost just 20 years after Pietro Guarneri of Venice died. How this happened I have no idea. I read a German article which stated that the church did hamper apothecaries to produce several products they used to produce until the second half of the 18th century. I can not recall it exactly. I could search it the next days when I am at home again. That could be an explanation why the varnish had disappeared. Another explanation is the market saturation theory you can read in several publications: There was no demand for good violins any more. So luthiers were forced to use cheaper materials. Who knows! But it is still an interesting topic for research. Maybe the magic will be lost when every detail is clear to us in the future. So I hope we have a lot to discuss until that day .
  6. I cannot believe that there is a German source for the Cremonese varnish! But can you give us the reference or could you scan the recipe? Besides, I could help to translate it. German is my native language.
  7. sorry ... it was not the preview button I pressed but the send button :-( Here's the rest: ... that he was educated f.e. at the Amati workshop. His varnish is said to be of Cremonese type. There is a letter of 1678 still existing in an Austrian monastery or museum which tells us that he (Stainer) needs to wait for better weather for varnishing. Two weeks after varnishing the instrument was shipped. I can look for the book to give you details, the next days.
  8. Ferbose, in case there are difficulties in reading the German article I can offer you my help, because I am a German . Don't hesitate to contact me. I have a little remark on your great writing "Stradivari's Varnish": On p. 2 you write: "Beyond these two letters there are no written accounts concerning materials actually used in Cremonese violins." I would like to to turn your attention to another source. Jacob Stainer of Austria (1617 - 1683) is regarded as an almost Cremonese luthier, although there is no real proof that he was ever in Cremona or
  9. Dear Dutch Violins, I didn't want to offend you. "don't disturb me ...." was meant as a joke to all who read my topic, not to you personally. I was very grateful for your answer. So please excuse my silly posting :-). Best regards, tarisio
  10. Yes, I am aware of this. But I am with the topic for 30 years, already. And I NEED to know what he published. I hope I can judge for myself what is wrong or what is right. Until now I only have proposals for adding something and found only little "mistakes". Great work so far.
  11. Hi it's me again, tarisio! One of you sent me the PDF. So don't disturb me ... I am reading ....... :-)
  12. Hi everybody, unfortunately I missed to download Ferbose's great article on Stradivari's varnish! Could anybody provide me with the pdf? I would be very grateful for that _________ loris.corlin@googlemail.com
  13. Maybe you have del Gesu in mind? Extraordinary sound but a little bit hastily built. Maybe rude is the wrong word, sorry, but I've learned English not at home but at school. The Straub family is not well known so I guess their instruments are only average. Typical German violins :-)
  14. I can only contribute an assumption: Georg??? Straub Geigen macher ... Röthenbach ?? Geigenmacher means luthier I searched in Google and found pages containing Straub and Geigen: http://www.sim.spk-berlin.de/deutsch/mim/meistergeigen.html http://www.friedenweiler.de/de/ort/12_chronik.php They say that Straub was a family working in the Black Forest of Germany. www.friedenweiler.de tells us about the location "Röthenbach". They also say that the instruments are no beauties. Is the violin a rude looking one? If you like I can translate some text they provide on the pages.
  15. Did you try Fuchs in Germany? In my opinion they have excellent quality at reasonable prices. http://www.fuchs-tonholz.de/ Their site is in German and in English. You MUST use Internet Explorer to see the "choose language"-button.
  16. Please correct me if I am wrong: Storioni worked in the second half of 18th century and his probable successor was Pressenda. Rocca was a pupil of Pressenda. Maybe I could give more details when I am at home this evening.
  17. The linings are doubled, but are they really inlaid? They seem to me scratched into the wood and painted black (see the label photo). The whole look of that violin is not Gasparo, I think. And: Correct me if I am wrong: The great Brescians did not date their instruments.
  18. Manfio, you mention del Gesu. Here is some data among others taken from the same book. Unfortunately Moeckel did not mention the years except for the Strads: ___________________|belly|back|difference Gasparo da Salo _____|f |f#1/4| 0.25 tones Nicolo Amati ________ |d# |f | 1.0 Nicolo Amati ________|f# |e | 1.0 F.Rugeri d.i. Per _____|e |g# | 2.0 Carlo Bergonzi _______|e |d# | 0.5 G. del Gesu _________|f1/4 |g | 0.75 Compared to Stradivari we see there is more bandwidth between the tones of belly and back in average. If they tuned or not this shows once again how consistent Stradivari worked. Or the others followed a different intention. It would be interesting to see more tuning data of del Gesu, Bergonzi, da Salo etc. But that's all the book provides concerning Brescian and Cremonese workshops.
  19. Quote: My plates are always around the same note Would you mind telling us around which note w/o ff and bar?
  20. Great hints, thank you. Do you know how to set up the measuring hardware, e.g. which microphone, where to place it?
  21. Thank you all for participating so far. Manfio and Oded Kishony: I agree. Plates glued to the sides do NOT behave like they do in their free state. I only think of tuning them to a certain pitch to get a hint on when thinning is finished. In short: Tuning for static reasons. Ok, there are other variables, f. e. the arching I cannot cover with this. But there is evidence that the old masters tuned their plates: Sacconi told us about f/fis in Strad plates. Maybe you do not know "Otto Moeckel - Die Kunst des Geigenbaus, 1st editiion 1930" Moeckel was a well-reputated Berlin luthier around a hundred years ago. He was able to measure the pitch of old Cremonese plates and published them in his 1st edition. He too was *not* in favour of tuning plates for tonal reasons. Here is some data: __________| belly |back | difference Strad 1701 | e | e 1/4 | 0.25 tones Strad 1708 | f | e 1/4 | 0.25 Strad 1709 | fis 1/4 | g | 0.25 Strad 1712 | g 1/4 | g | 0.25 Strad 1720 | fis | fis | 0.0 Strad 1726 | e | fis | 1.0 Most striking are the little differences of belly and back tunes. So I come to the conclusion that Stradivari tuned the plates. I do not say that this was necessary but it seems to have been a common practise. My question is: To what pitch should a belly be tuned in the white without ff and without bass bar to get the desired tone f in varnished state? Example:__________________pitch belly white_________________? belly white with ff __________? belly white with ff and bar____? belly sealed and varnished____f Is there a pitch difference between old and new bass bar?
  22. Hi wblakesx, this is an interesting topic. I am wondering how to set up a computerized measuring system some makers have. Is this an ASIO plugin for cubase you mentioned? Regards, tarisio
  23. Hello, I am wondering to what pitch the old masters tuned their plates. I can read in several books that their bellies and backs are both tuned to f. But there are questions remaining: To what extent does the old bass bar distort this equilibrium. Was there a big difference in the plate's pitches when 19th century makers took out the old short bass bars and put in the stronger ones? I assume it could not be more than a 1/4 tone. What do you think? What about the sealer and varnish. Does it alter the pitch significantly? Does anybody have experiences in this? Regards, tarisio
  24. tarisio

    Wax sealer

    Hi tonewoods, what kind of wax do you use? Is it simply bees wax or another kind of wax, e.g. carnauba wax? Are there other usable kinds of wax for sealing? Regards, tarisio
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