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Everything posted by henrypeacham

  1. Additionally, there was a single double bass in the auction (estimate £10-£20) which went for £4750! Glad to see that Amati is including double basses in their sales. Basses seem to be completely ignored by the other auction houses. Granted they are not considered solo instruments but there is still a good market for them, woefully underrepresented. Bravo Amati!
  2. Clarion. For musicians by musicians. If you ever get paid for playing, homeowner insurance companies may often deny your claim because they’re always looking any reason to do so.
  3. Perhaps you mean Michael Darnton’s useful posting a few years back at violinist.com. The original with reference: …Probably you mean this this list, which was generated by audiophiles. It's the best set of descriptions I've seen, even though it differs from what violinists say. The source is here: http://www.faqs.org/faqs/AudioFAQ/part2/ Airy: Spacious. Open. Instruments sound like they are surrounded by a large reflective space full of air. Good reproduction of high-frequency reflections. High-frequency response extends to 15 or 20 kHz. Bassy: Emphasized low frequencies below about 200 Hz. Blanketed: Weak highs, as if a blanket were put over the speakers. Bloated: Excessive mid-bass around 250 Hz. Poorly damped low frequencies, low-frequency resonances. See tubby. Blurred: Poor transient response. Vague stereo imaging, not focused. Boomy: Excessive bass around 125 Hz. Poorly damped low frequencies or low-frequency resonances. Boxy: Having resonances as if the music were enclosed in a box. Sometimes an emphasis around 250 to 500 Hz. Breathy: Audible breath sounds in woodwinds and reeds such as flute or sax. Good response in the upper-mids or highs. Bright: High-frequency emphasis. Harmonics are strong relative to fundamentals. Chesty: The vocalist sounds like their chest is too big. A bump in the low-frequency response around 125 to 250 Hz. Clear: See Transparent. Colored: Having timbres that are not true to life. Non-flat response, peaks or dips. Crisp: Extended high-frequency response, especially with cymbals. Dark: Opposite of bright. Weak high frequencies. Delicate: High frequencies extending to 15 or 20 kHz without peaks. Depth: A sense of distance (near to far) of different instruments. Detailed: Easy to hear tiny details in the music; articulate. Adequate high-frequency response, sharp transient response. Dull: See dark. Edgy: Too much high frequencies. Trebly. Harmonics are too strong relative to the fundamentals. Distorted, having unwanted harmonics that add an edge or raspiness. Fat: See Full and Warm. Or, spatially diffuse - a sound is panned to one channel, delayed, and then the delayed sound is panned to the other channel. Or, slightly distorted with analog tape distortion or tube distortion. Full: Strong fundamentals relative to harmonics. Good low-frequency response, not necessarily extended, but with adequate level around 100 to 300 Hz. Male voices are full around 125 Hz; female voices and violins are full around 250 Hz; sax is full around 250 to 400 Hz. Opposite of thin. Gentle: Opposite of edgy. The harmonics - highs and upper mids - are not exaggerated, or may even be weak. Grainy: The music sounds like it is segmented into little grains, rather than flowing in one continuous piece. Not liquid or fluid. Suffering from harmonic or I.M. distortion. Some early A/D converters sounded grainy, as do current ones of inferior design. Powdery is finer than grainy. Grungy: Lots of harmonic or I.M. distortion. Hard: Too much upper midrange, usually around 3 kHz. Or, good transient response, as if the sound is hitting you hard. Harsh: Too much upper midrange. Peaks in the frequency response between 2 and 6 kHz. Or, excessive phase shift in a digital recorder's lowpass filter. Honky: Like cupping your hands around your mouth. A bump in the response around 500 to 700 Hz. Mellow: Reduced high frequencies, not edgy. Muddy: Not clear. Weak harmonics, smeared time response, I.M. distortion. Muffled: Sounds like it is covered with a blanket. Weak highs or weak upper mids. Nasal: Honky, a bump in the response around 600 Hz. Piercing: Strident, hard on the ears, screechy. Having sharp, narrow peaks in the response around 3 to 10 kHz. Presence: A sense that the instrument in present in the listening room. Synonyms are edge, punch, detail, closeness and clarity. Adequate or emphasized response around 5 kHz for most instruments, or around 2 to 5 kHz for kick drum and bass. Puffy: A bump in the response around 500 Hz. Punchy: Good reproduction of dynamics. Good transient response, with strong impact. Sometimes a bump around 5 kHz or 200 Hz. Rich: See Full. Also, having euphonic distortion made of even-order harmonics. Round: High-frequency rolloff or dip. Not edgy. Sibilant: "Essy" Exaggerated "s" and "sh" sounds in singing, caused by a rise in the response around 6 to 10 kHz. Sizzly: See Sibilant. Also, too much highs on cymbals. Smeared: Lacking detail. Poor transient response, too much leakage between microphones. Poorly focused images. Smooth: Easy on the ears, not harsh. Flat frequency response, especially in the midrange. Lack of peaks and dips in the response. Spacious: Conveying a sense of space, ambiance, or room around the instruments. Stereo reverb. Early reflections. Steely: Emphasized upper mids around 3 to 6 kHz. Peaky, nonflat high-frequency response. See Harsh, Edgy. Strident: See Harsh, Edgy. Sweet: Not strident or piercing. Delicate. Flat high-frequency response, low distortion. Lack of peaks in the response. Highs are extended to 15 or 20 kHz, but they are not bumped up. Often used when referring to cymbals, percussion, strings, and sibilant sounds. Telephone-like: See Tinny. Thin: Fundamentals are weak relative to harmonics. Tight: Good low-frequency transient response and detail. Tinny: Narrowband, weak lows, peaky mids. The music sounds like it is coming through a telephone or tin can. Transparent: Easy to hear into the music, detailed, clear, not muddy. Wide flat frequency response, sharp time response, very low distortion and noise. Tubby: Having low-frequency resonances as if you're singing in a bathtub. See bloated. Veiled: Like a silk veil is over the speakers. Slight noise or distortion or slightly weak high frequencies. Not transparent. Warm: Good bass, adequate low frequencies, adequate fundamentals relative to harmonics. Not thin. Also excessive bass or midbass. Also, pleasantly spacious, with adequate reverberation at low frequencies. Also see Rich, Round. Warm highs means sweet highs. Weighty: Good low-frequency response below about 50 Hz. Suggesting an object of great weight or power, like a diesel locomotive
  4. Wittner. High-quality German machining.
  5. Evah Pirazzi “weich” (low tension) have been the most successful string choice for me across the board with my small collection of both newer and antique instruments. Years ago on this site Michael Darnton recommended low tension strings and after trying them I became a convert.
  6. I have recently acquired a violin bow by H. R. Pfretzschner. Perhaps I shouldn't be, however I am astounded at the magnificent playing qualities of this bow. French bows get all the headlines and rightly so, but is there any good reason why German bows are generally neglected as far as the market is concerned?
  7. Are you possibly using too much pressure on the string? It's a very small and weak muscle there, try practicing with a tiny bit of pressure without it collapsing to see if you can slowly build up the strength. It takes a long time.
  8. Ditto to that. Extremely high-quality work all around and very knowledgeable. His father was also a luthier I believe. Only place I would feel comfortable leaving expensive bows for re-hair or repair. Basically nothing gets by him, quite astute. Fine minimalist (undetectable) repairs of instruments as well. Worth a stop-by when you're in Los Angeles. Old-school.
  9. Of the violins chez-moi, nearly all are more or less of the same neck profile as regards thickness, taper, and width. I can detect no real difference in feel as I move amongst them. One example is however not of their kind. It is considerably more beefy, pretty much in all the aforementioned dimensions. Is this something that could be somewhat easily 'corrected' to be in closer similarity with the others' standard or would it require removal from the body and I should just forgetaboutid?
  10. I recall while a student at the RCM my cello teacher Amaryllis Fleming played a St.John's Smith Square recital in 1975 or thereabouts. On the program was Bach's Suite no. 6 in D and her Amati had just finished being restored at Beare's. It was her first public performance with the returned-to-original-5-string instrument. When she first touched the E string in that piece there was an audible gasp from the audience and everyone practically rose out of their seats in titillation.
  11. Also LA Violin Shop on Olympic. Kinda near downtown.
  12. Warchal Karneol are also deserving of a try @ around $35US a set. Very good value IMHO.
  13. The frog rose motif is so far out of alignment it is inconceivable that Bultitude would have released it as such. He was entirely too fastidious. I'm with Martin...far too many inconsistencies to be acceptable as genuine. IMHO.
  14. Over years of observation I have noticed a significant number of violins of the antique variety which have had shims installed under the fingerboard to restore the break angle across the bridge. Otherwise I have seen abnormally low bridges on instruments without a shim, waiting for correction. In the world of flat-top guitars, neck resets are the normal choice to correct for high action. After a neckset, short shims are installed under the fingerboard tongue on top of the guitar or occasionally they are left with the upper fingerboard slightly bent where the fingerboard joins the body, usually for cosmetic reasons. Their bridges may have been shaved sometime in the distant past to lower the action, however I have never even heard of an acoustic guitar with a shim installed under the entire fingerboard to correct for high action. Neck resets are now entirely the norm. Since flat-top and even classical guitars are not engineered to be disassembled later for repair I am curious as to why so many fine violins have fingerboard shims. IMHO string instruments are made to be taken apart (hide glue, etc) for repairs. Is a neck reset simply a much more expensive operation vs. installing an under-the-fingerboard shim or are there other factors which account for the prevalence of shims?
  15. Actually you’d think that luthiers would appreciate a game that has no “penalties”, only “errors” and where wood and leather are the materials used to play it. IMHO ”Safe at home” just has such a lovely ring to it.
  16. Regarding examples from the great bowmakers of the past, were there any general principles regarding a decision to use nickel vs. silver as materials for bows? Did the maker get near the end of the process and decide that the bow was not of sufficient quality worthy of silver mounts or was the decision more a matter of economics in that more folks could afford a nickel mounted bow so it would be an easier sell as it was less expensive?
  17. See Martin Swan's informative reply to this topic: https://maestronet.com/forum/index.php?/topic/340919-top-10-destinations-for-contemporary-certificates-of-authenticity/&tab=comments#comment-815402
  18. It also came with a "We certify....", and in this case "bill of sale" is a more accurate description of the document previously posted.. Distinction noted, thanks Michael.. I found it interesting that the words "'Guaranteed Genuine" were employed in light of the current discussion while curious if any present-day dealers feel compelled to use similar verbiage to accompany their own bills of sale.
  19. Further to the discussion of written guarantees, I have a 1949 J & A Beare cert for my C. Pierray violin which states ""Guaranteed Genuine" (price obscured for posting here). Whether or not it would be sufficient to others in a future marketplace did not influence my decision to purchase. It was 'certainly' good enough for me!
  20. According to the link provided, the highest price a Juzek violin has achieved is over £3000. There is obvious public interest in Juzek violins. None of the examples by Salustri offered at the Oct 2019 auction reached an opening bid of even £200. If you were to paint your examples some bright colors you might see a modest return on your "investment". Good luck!
  21. There were 14 "Mario Salustri, Albano,, late 20th Century" examples in the Amati Specialist October 2019 auction. They all "made it" through to the Aftersale. Without exception: Each offered at £200. Here are a couple of examples. Six of the items were in the white.
  22. Fascinating! Any chance for a picture of this feathering? Unsure of what qualifies as inside vs. outside. is it possible to see this without taking the top off?
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