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About palousian

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  1. Interesting, the violin with the clock... I wonder why there is a c.1890 ivory banjo tuning peg included. Also, the green fiddle would be perfect for St. Paddy's Day performances...
  2. Hi, and welcome. You are probably wondering why there aren't any responses to your query. The problem is that a paragraph description of a violin is utterly worthless for attribution--the experts (that is, not me) need photos. You are new and you have to make ten posts (I think) to get access to direct posting of photos here. You could post them on a photo-hosting site and post links here though. Here is a helpful thread telling you what photos are needed.
  3. AdBlock Plus, folks. It's currently blocking four ads on this page for me.
  4. I find it hard to believe that a violin made in 1797 would have a head of Beethoven instead of a scroll. At that time, Beethoven had just started making his name in Vienna (mainly as a pianist), and wouldn't publish his first symphony or string quartets for a few years yet. Either it isn't Beethoven or it was made after 1820.
  5. Yeah, but that is a completely different issue than what the OP is focused on here.
  6. Here is one on a c.1800 Saxon violin.
  7. The f-holes and corners on the OP violin are significantly different than this so-called "Mozart" violin, which I think is by Aegidius K., not Sebastian. Lotza Klotzs. But I agree that the back on your lovely violin is awesome.
  8. The font of the stamp appears to my eye to be 20th-c. Though you are apparently certain that your violin is a 1736 Klotz, we have no idea whether or not that's the case (we would need to see photos...If you are going to post photos, read this first--, but in any case the "956" has nothing to do with the number of parts (One piece back or two? Do you count the purfling? As three pieces or one piece?...) , though I would think that a Klotz would have one less part since they generally have a one-piece bottom rib. My guess is that it's an inventory number of some sort, but maybe a real expert will weigh in here...
  9. The floor rug is a good idea. One of the problems of most rooms is that the walls and the floor and ceiling are generally parallel, so you can get weird resonance from standing waves, especially if they are hard surfaces. There are of course many fancy and expensive items you can use to obstruct those waves and corners of your room that unnaturally pump up the bass, etc. But I have good luck with rugs, furniture, and of course, rugs ON furniture. I like your blinds (I have similar ones--these appear to be the sort with chambers in the accordion fold and they are pretty absorbent acoustically), but I would be hanging some rugs on those bare walls. While I am into the tribal rug thing, there are a variety of textiles that are worth trying, quilts perhaps? Burlap is weirdly effective. When I record I sometimes isolate the player a little with a few chairs around them with rugs draped thereon. I have been known to put a chair on a table and drape the whole thing with a big rug--you keep listening and trying things until it's right. I have two rooms, but my smaller room with the gear is not unlike yours actually. It might help to hear a few recordings in your space, even through computer speakers, to get a sense of what problems you're facing. I suspect that if you put a mic a couple feet away from the violin in your room that you would be hearing a fair amount of reflections coming off of those walls, and that would interfere with the rich tone you seek.
  10. The problem with small-diaphragm condensors (Rode m5s) is that they can put an unpleasant edge on a violin, unless the room is exquisite. And even then they can emphasize bow noise that isn't as much of a problem if you are ten feet away. That's why I put the ribbon in there--this is home recording, so I'm not counting on the room, and in my experience a good ribbon mic will minimize the unpleasant bow noise. The other EQ spot to examine for a little reduction is around 3.4kHz, if your problem is nastiness. Years ago, with an array of microphones not unlike yours, I put everything up in my room, tried several locations, and another player and I tried everything we could think of, recorded it all, comparing. Consistently the richest sound for a single mic was the ribbon a couple feet away, but it was going through an Avalon 737, so yeah, valve distortion... But anyway, Michael, have you put everything up and tried it? What were your results?
  11. My experience is that ribbon mics are the ticket for what you want. But you have those Sterlings--don't they sound good? I haven't used that particular mic, but I run my ribbon mic into a nice preamp, and it's great. I put it about two feet away, above the violin. When I have wanted stereo, I don't do two ribbons, though, I add a large diaphragm condensor mic and generally move it around, sometime off to the side, sometimes under the violin, to get more resonance of the room. Or I use two small-diaphragm condensors in a stereo pattern, and keep the ribbon as a center channel. But for richer tone, I don't see how you can do better than a good ribbon/preamp combo. Does the violin itself have a rich tone? If not, there's your problem.
  12. Well, answering the OP's question, this violin has virtually nothing to do with Guarneri, but is a German cottage-industry ("factory") violin from the early 20th century. It looks like it all could be made playable without too much investment. Sometimes these sound pretty good, sometimes not. It is not worth thousands, but could be a solid starter violin for someone. I wonder what an old five-string banjo bridge was doing in the case... Anyway, take it to a luthier and get it set up.
  13. Well, the one I sold him wasn't worth much more than the $1800 he paid, though it was an historic instrument.
  14. Looking at the bottom photo, it appears that the violin has acquired a extra sound hole in the bottom bout where the chinrest would be.
  15. Weird, though, for a thing mostly stamped out in a factory.