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miles

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Posts posted by miles

  1. Season's Greetings from SUNNY Chicago! The thin on "natural insolation" Chicagoans have been truly blessed this winter.

    Thank you all for your wonderful posts, and special "thank you" to rutherford for sharing the UFO-full of gifts Santa dropped....

  2. quote:


    Originally posted by:
    ctviolin

    Most newly made violins sound really good, but most of them sound much very alike...


    This is a very intersting comment, Craig. If I recall correctly, there was at least one thread (possibly be on another forum) talking about how today's violin players sounded pretty much the same or similar unlike their predecessors. I don't know whether these statements, including yours, are true, but they seem to echo each other (co)incidentally...

  3. How about a heavier bow?

    I have a violin (Eastman 905, one of their master lines), which is noticeably lighter than anything I've got my hands on. I used a CF bow (an acknowledged good bow, <60 g) on the violin, and the sound was quite thin. Then I tried a P. wood viola bow (hasn't been shown to anyone else yet, > 70 g), and the sound was much fuller and richer. I don't know the rationale behind it, but always use the viola bow with this violin. That seems to work well for me.

  4. quote:


    Originally posted by:
    fiddlecollector

    I think its all to do with the surrounding environment as well as whats going on locally around the damage.

    Anything can happen . Its like violins that have worm damage in one place only and the rest of the instrument is pristine.Sometimes they eat the linings only other times they eat all the insides of the rib and the lining.


    Totally agree with the surrounding environment, including temperature and humility, is an important factor, if not the key. There are so many "nasties" in the air, but they need necessary and sufficent condition to post a threat.

    "Anything can happen." Good for job security for everyone?

  5. I have not read all of the stuff on the mycowood, and have not worked with wood. However, I had quite extensive experience with cell biology (epithelial pulmonary cells in particular), and knew diluted "fungizon" (trade name) worked in keep fungi from growing on my cell culture (although it also has some effect on cell's permeability in membrane). In addition, 10% bleach solution will kill practically everything need to be killed before dumping cell culture. So these two solutions might work if the concentration is carefully and correctly derived.

    In regard to your previous post to my question, I don't think that replacing/replenishing hide glue could put any stop to the deterioration of the plate-rib joints given the fact that the bottom ribs already in such condition as shown in Jeffrey's photo.

    I have a violin, whose varnish was marred by sweat (not from me, disclaimer, I have super low acid tolerance), but the damage seemed to be only on the surface without penetrating the varnish at all.

    Paper bag, David?

  6. quote:


    Originally posted by:
    David Burgess

    How disgusting to see a beautiful and fastidious lady violinist hugging to her breast one of these filthy relics of a past age. It is horrible to think...


    Are you guys working in the marketing department for cosmetics companies? What's out there to make an ugly lady become a beautiful one so that people will start thinking for our well-being, too?

  7. quote:


    Originally posted by:
    Michael Darnton

    I did use unwaxed dental floss. The nice thing about it was that it's so thin you can add several layers, each compressing the one below, and end up with an incredibly tight hair bundle that's still minimally sized.


    Oh, no. Got to stock up dental floss before the bow people....The price is going to go up, I am afarid.

  8. quote:


    Originally posted by:
    bean_fidhleir

    both vets who've seen her do say that she's in phenomenally good health for her age--she's the oldest either of them have ever seen in their practices.


    Wow! That's a blessing for the pet owner/friend. There is no endless party; if you enjoy the time you spend together, I am sure she will feel the same way and have a wonderful memory of you.

  9. quote:


    Originally posted by:
    fiddlecollector

    Botulism maybe, gelatin provides an excellent growth medium for these nasties. But seriously,bacteria can considerably acidify wood and cause considerable weakening.

    Read this page, quite relavent about research into fungi treated wood for violin making. Results include reduced mass without reduction in ligninified cell wall structure.


    Thank you for the link, fiddlecollector. Very intersting.

    If I understood you correctly, you implied that the bacteria on Jeffrey's violin lived on botulism and maybe gelatin? If that's the case, why aren't the rib-plate joints, where the gelatin is abundant, damaged?

  10. Indeed, it is attractive. I have Corelli Crystal on my gliga, which sounds warm and on the dark side. Guarneri model I have or tried seem more to be on the dark side as well. Most of the East European violins I own or heard are more on the dark side as well. So it might compliment the willow back to have rounder sound????

    I don't know how much you paid for it, but I know in 2005 a beginner grade violin alone would cost $800 at a shop. One has to try almost the entire stock to get the best sounding violin for the money. The price jumped to $1,200 and up to $3,500 (or $4,500?) workshop line (not bench made)...So if you got it a good price, and you like the sound, it might just be the great deal for you.

  11. quote:


    Originally posted by:
    yuen

    whoever the luthier was a genius, repaired and corrected its

    defects. (reinfored the bass bar, strightened the ribs, new bridge carefully done, new soundpost, etc.) I can see the pencil marks everywhere inside the luthier's impressive work). Otherwise, it would be jsut another piece of junk.


    Geez, it's a lot of work. Did the repair cost as much as the violin? Or it was much more affordable that way? I have not had my violins with casing down f-hole wing repaired. So far, I have more than what I can handle at the moment. Maybe I will sell them all and upgrade myself.

    Allan,

    How about a pencil with lead being taken out? Will it do it?

  12. quote:


    Originally posted by:
    Ferbose

    Can sweat cause the severe delignification of wood? I really don't think so

    unless someone can cite some reference to support such claims.


    I suspect it depends upon whose sweat we are talking about and how much/how long the interaction between sweat and woodhas been going on as well.

    "You are what you eat." has certain truth in it. And minerals (along with other "waste") from our body can also be excreted via sweat; that is the reson why sweat tastes somewhat salty unlike natural water.

    It would be interesting to know what the person(s) ate mostly to have such "powerful" sweat.

  13. quote:


    Originally posted by:
    falstaff

    "...in the past 300+ years, no makers have been able to modify violin making in a significant way. If that is the case, wouldn't it time for the volin making community to open up to ouside its own circle new ideas albeit absurd?"

    Why would this be a good idea?


    I think much have been said in other threads, and, from my understanding of your posts, you are much more qualified than me to judge in the subject matter of violin, of course.

    However, as I questioned isprati in another thread a long while back, the first question is source of wood. As violin playing gains more and more popularity, especially in China (just think of the population pool), how would we be able to come up with good wood faster enough to meet the demand? I am also under an impression that the pernambuco wood is getting more and more scarce, and the pressure of getting a good alternative is certainly there. Whether CF bow born because of that, I am not sure, but I won't be surprised if it is. I heard that Roby Lakatos use a CF bow. If a CF bow is good enough for him, it certainly more than good enough for me. It also costs much less a wood bow of similar quality.

    On the other hand, why would it be a bad idea to open up to new ideas in learning the "secret" of violin making (whatever that is), and apply it to alternative material or methods if necessary? I don't get it. If you, as an individual or as a group, prefer a good old violin made in the "traditional" fashion, I also don't see anything wrong with it. But why the opposition?

    quote:


    Originally posted by:
    falstaff

    You are suggesting that people who believe (rightly or wrongly) that the basic design and function of the violin has been refined but not substantially improved upon in 300 years should, because of that, entertain new ideas, even the absurd?


    In the aforementioned un-named thread, I provided an example of how our [Chinese] emperors helped facilitate the advance of commerce, alchemy/chemistry and knowledge of geography in history because of his quest for eternal/immortal life. In addition, I also pointed out the unconventional experience of Jason Price, co-founder of Tarisio, which more or less led to the birth of Tarisio.

    So, again, why not?

    quote:


    Originally posted by:
    falstaff

    By the way, judging from the give and take on this forum, I don't see any dearth of openness to new ideas. Only absurd ideas.


    Your opinion and judgement are respected. I would, however, like to use Michael's post to conclude my response:

    quote:


    Originally posted by:
    Michael Darnton

    "There is no idea, however ancient and absurd, that is not capable of improving our knowledge."

    Exactly!


  14. Thank you so much for the response, David B. A person of your status, who would go an extra mile to acknowledge and explain to an oddball student/learner, speaks volume for your character. Your brilliantness is shown in your making the best use of the opportunity to bridge the gap between your style and external expectations. My compliments are certainly not unfounded.

    I certainly disagree with the notion that you did/do not share your "secret" of vioin making (not knowing what to call it with, I took it from the catchy phrase, "secret" of the Strad and alike). One example jumping out of my mind is from your response to Allan (Speers) on violinist.com regarding the impact of the weight of tailpiece on the sound of a violin. If I recall correctly, Allan was very happy with the result he got by varying the weight of the tailpiece. So he shared his finding with us on that fourm with excitement. After a few posts down the road, you posted your caution on the experiment condition--Allan might have not reached the threshold of the weight, past which the result would be different. Next thing I knew was Allan came back with new finding to confirm your caution also with enthusiasm. The "atmosphere" was great and enjoyable, and I also learned a lot from both you and Allan. (btw. I am also a big fan of Allan's posts. ). Your style of "teaching" is more like so-called Socratic method, I'd say, which most likely can only be appreciated by people of certain intellectual capacity or people who like to be challenged. In regard to your view on the identity of your own crafts, a talented copyist will be able to copy your work anyway. But will they be able to get the "spirit" in oyur work? I am doubtful. Chinese calligraphy is a good example. However, I truly believe that one is entitled to share or NOT to share ones intellectual property.

    I think much of the misunderstanding here roots in the expectation of a person of your caliber, as Jacob already pointed. It is quite understandable to me for I had a similar personal experience in my expectations for a Nobel Prize laureate in Physics...I signed up for the class because of the big name professor, of course. After the first class, all I could remember was:

    (1) The NPL was a B student (from SUNY, New York?).

    (2) He compared Michael Jordan to Einstein in the basketball field.

    (3) He kept us in the dark until a student asked him to turn on the lights again for the fear of waking us up.

    His co-lecturer was very organized (assistant professor or lecturer?), who always had all the class material typed up and all, and one could learn "faster" with him. It took me some time to start to appreciate the thinking of an NPL: What he taught us was far beyond what could be spoon-fed...

  15. quote:


    Originally posted by:
    Ferbose

    Nagyvary

    has managed to convince at least two of them that

    Nagyvary-Chen violin can hold its own against Stradivari. They are

    Zina Schiff and Mariko Senju, and both have publicly demonstrated

    Nagyvary violins to promote their tonal beauty. 2 out of 100

    is still statistically insignificant, but we will have to let

    history be the judge.


    Tonal quality, as I "understood" from many posts, is rather subjective. Therefore, it is very interesting to note that you used "manage to convince" in the subject of tonal judgment. I wonder how much was involved in the "old school" of thinking that Strad is necessarily better than its modern counterparts, how much was due to the influence of negative publicity of Nagyvary et al, and how much really is the performer/palyer's tonal judgment.

    Strictly speaking, I am not qualified to judge, but my thinking/position is closer to that of yours, johnmasters, David Tseng, and argon55. If I remember correctly from reading some posts, in the past 300+ years, no makers have been able to modify violin making in a significant way. If that is the case, wouldn't it time for the volin making community to open up to ouside its own circle new ideas albeit absurd? As David Tseng mentioned in his last post, something wonderful might come out of an elephant dung... [What's wrong with dung knowing that urine was the secret of golden sound? ]

    David B.

    Thank you very much for starting a new thread--the best way to be your own "ferbose".

  16. quote:


    Originally posted by:
    yuen

    One of my old violin has a deformed area at top, it mighty be a neglect of a long ago previous owner.


    My experience might not be related to the soundpost, but I found at least two of my violins have lower f-hole wing on the treble side near the edge. One of them is over 40 years, and another over 90 years old both are German made.

    I wonder why and how only one wing would be lower (or the bridge area was higher? I couldn't tell that though).

  17. I tried to play a violin with a dislodged soundpost in it (very light bowing) to decide whether to have the soundpost set up. It sounded actually OK (maybe because I didn't put too much bow pressure on it? It has been my experience), and I brought it to a luthier firend to have it set up. I was very curious about how the violin sounded, and asked the luthier friend to play it for me. To my surprise, he would not even pick up the bow. Instead, he told me not to play a violin without a proper soundpost in it, and went on to examine other violins I brought to him. He didn't say too much about the reason why, but I think Michael's posts just filled the void. Thank you.

  18. David B,

    Thank you for listening. I hope people not only try to learn your "secret" of violin making, but also try to appreciate your "style". More importanly, one would respect your entitlement.

    David T,

    Now that's a real scientist speaking.

    The merit of Nagyvary's paper, as I see it, is not the conclusion (I can't really see much in it), but part of his methodology (the use of new technology). If the science community can work with the violin making community, such as what ferbose has done, the secret of Strad/Guarneri may one day be discovered? Ferbose has done an excellent job as an ambassdor to inform/educate violin makers, which might triger new thoughts in how to refine/redesign the experiments (what you recommended). If we can put people like you and argon to perform the peer review, I am optimistic that "one day" might not be a dream.

  19. quote:


    Originally posted by:
    Max Asst.

    That's nasty looking. Like a castaway sesame bagel found

    on the floor and chucked into the poppy seed bagel bin.

    Wait until it comes out golden brown from the toaster, I bet you will forget it's even from a circular bin...The killer golden brown smell...

  20. quote:


    Originally posted by:
    bean_fidhleir

    she is now completely deaf due to her advanced age (25 in May I hope) and I could play as often as I'd like. But it would always remind me that her life is coming to an end, so I prefer not to.


    Maybe she only mellowed out with age, not deaf?

    When I was in my teens, I disliked pop music a great deal. When my friends call me, I always asked them to either turned off the pop music on the background or called me back later when they were done with the music (or noise later).

    Now, I can sustain listening to rap without having a "heart attack". Actually, I enjoy German hip-hops a great deal, especially those with Middle Eastern music.

  21. Thank you for the reply, David.

    quote:


    Originally posted by:
    David Burgess

    For example, we have spectral data up the wazoo for violins, but so far nobody has been able to convert this into useful information for makers. The person who takes a step in this direction will be more significant to me than those who took the measurements.


    I reckoned this aspect in my original post. It is the audience that made that difference--Nature is usually read by scientists, not violin makers/players. Ferbose is a scientist, and he was able to decode Nagyvary's "conumdrum" for his intended audience (that is, us). In the process of deciphering, one will, for better or for worse, inevitably introduce ones understanding and even ones own thoughts into the original work. The same phenomona is ever-prevalent in Classical Chinese. Since you recommended A C Graham's work in another thread, I assume that this phenomenon was not new to you. While the later interpreters might enjoy great reputation for their work, the due credit to the original has never been outshined.

    I am not related to Nagyvary in any way, and have no prior experience with Ferbose. But I feel it is unfortunate that if someone became the target of negative critism due to the critics' ignorance let alone receiving proper credit. Since I am ignorant in violin making, my statement is a general statement, not aimed to be a response to other threads or this one.

    In reality, I also feel that some posters seem to be hostile toward you unnecessarily. One of the reasons I can think of might be that your unwillingness to share "your secret", which I agree that you are entitled to. If you feel that Nagyvary did not shed enough light and his "break-through" experiemnt should go to another, I then feel the hostility here is more or less justified.

    That said, I think offering/inviting ferbose to publish his work on a trade magazine is a "brilliant" idea.

    quote:


    However the academic and scientific domains bestow credit, including for publishing, doesn't mean much to me. Information from some grad student involved in a research project might be more useful than from some professor who takes credit by publishing. I've found information from amateur and un-recognized violin makers as useful as that published in trade journals by high-profile makers, some of whom have an incredible talent for taking up space on a page without saying anything.

    [/a]

    Been there, done that. Thank you very much for your sympathy. In your cited scenario, often the grad students or research associates will take the position of primary author. In the science community, we know how to "decode" such arrangement. Unless, one works for a extremely mean primary investigator, more often than not one will receive proper credit.
    quote:


    Nagyvarys work and Ferboses paper may raise more questions than answers, but good answers are usually preceded by the right questions. It's all good food for thought.


    This really is the impression about you I've got after reading most your posts -- open-minded and brilliant.

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