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  1. At least this article presents some discussion and data on how wood structure changes with age -- something I had not seen before. Could help explain why older instrument sounds 'old' which apparently most people like.
  2. It was suggested that I should have the nut moved up a little bit (toward the bridge) so that there is more space for the hand/fingers in very low positions and also that it would shorten the string length and make fourth finger easier to play. Current string length is 328 mm. The violin is collectible so I wanted to get other opinions on whether this modification is a good idea both from a playing and collecting perspective. Not sure but I am willing to bet the current nut and fingerboard are original from the 1930's. Thank you.
  3. We are having a heat wave in socal. I keep my violin heavily humidified around 50 percent and that has not been affected by the weather, but the temperature in my home is way up -- my digital hygrometer reads 29 celsius which is probably as hot as it ever gets by the beach. My question: I think my violin sounds a lot better at this temperature. More rounded, more meat to the sound -- like the Soil strad has more meat is what I am trying to describe. Is this a possibility that temperature independent of humidity affects the sound properties and if so why?
  4. I have the stretto humidifier with a digital hygrometer -- which I know is accurate from tests against the hygrometer in a violin shop. Also have the oasis humidifier. I keep the case shut but that does not seem to make any difference.
  5. I bought a new pretty high end case made with plywood and leather exterior and I am finding it will not humidify, even with two humidifying elements in it, one of which is for a guitar case. I have two hygrometers one which is digital and they are in agreement. Has anyone ever had this experience? Is it possible that the case is somekind of moisture sink or so pourous that it only reflects ambient humidity? Thank you.
  6. For what it is worth I had a '36 Becker (Carl G) for 15 years which probably came from the same tree as that one in the photo by CCM. That one is apparently not played because the varnish wears away quickly. Here are two other observations. - if you accidentally hit it against something you would see a white spot but it would disappear within weeks or months - did not take fingerprints just from touching it but a finger on the back for a few minutes -- the print is probably still there.....
  7. I have watched a lot of youtube videos of him teaching masterclasses and there is one recurring theme. "Curl the fingers and bend the thumb and bow in - out." After seeing it so often I decided to try it...and it works! The net effect as far as i can tell is that the right shoulder is more relaxed and that the hair remains pretty flat across the whole length of the bow stroke. I would have to ask my neighbors if they hear a difference but to my ear I am getting a lot more volume and richness of sound. Obviously he has great equipment but I bet he would play the living crap out of any fiddle.
  8. it was suggested to me to put some kind of clear plastic over the rib where the hand rubs on it in higher positions to prevent the varnish from being worn away. Is it true that simple drawer liner works in this capacity and does not itself do damage to the same area?
  9. Are Holtey's items actually supposed to be used??? I have been tracking him and his stratospheric pricing for about 15 years and made some planes of my own according to the Kingshot book which kind of resemble his although not as clean but that I actually use and easily take a half a thousandth cut. I always wondered: - who buys this Holtey stuff at these exorbitant prices? - what do they do with it?
  10. Aside from physical abrasion wear, are there any risk factors from exposure to light? I mean not direct sunlight (no duh that would be a bad thing) but I like having my violin out all day so I can tool around on it when a few minutes present themselves here and there. I keep the blinds closed but it is a bright room nonetheless.
  11. Except for the pock marks on the top it looks a lot (really a lot) like my former 1936 Carl G Becker....which sounded like crap by the way thank God I got rid of it....
  12. I think the one guy is actually gammuto with a wig....and his black shoe polish....
  13. I have been experimenting with holding the bow on the middle of the grip and it seems to offer several advantages in terms of more accuracy and wrist motion on spiccato and ease of changing the angle of the hair on the string.
  14. What is the historical significance of the shape of certain parts of the bow e.g. the forward end of the frog and the leather grip. Given that the "correct" bow grip employs the thumb wedged only between the end of the protruding part of the frog and the back end of the leather grip, why does the frog have that 1 cm u-shaped indentation and the grip extend for an inch? Does anybody actually put their thumb in that little hole? Is it anathema to actually put the thumb squarely in the middle of the leather grip and ignore the end of the frog? The middle fingers would still contact it.
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