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uguntde

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    Lübeck, Germany
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    Science, NMR, string instruments

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  1. This makes me wonder who actually owns and who maintains maestronet. Is this a profitable endeavour? Or are we at risk of loosing this resource?
  2. Do you run a distillery? Here this requires a license.
  3. It is ofcourse easy today to make 99.9% alcohol. Whatever they add makes it undrinkable. And 90% is still cheaper in most countries. You can of course also buy pure 99.9% ethanol which you need for example in chemical laboratories. 100 years ago they were probably stuck with alcohol around 90%. I tried but for spirit varnish and the one without water is clearly preferable.
  4. You can't get pure alcohol by distillation because you get an azeotrope (around 97%). In older times it was hard to get ethyl alcohol in very high concentrations. Cheap alcohol that you buy in the super market is ineed often mixed with something that makes it taste awful, and in the UK they also add blue colour. This stuff also contains water. The higher the water content the less useful it is for spirit varnish. Pure dry ethanol is a lot more expensive (sometimes sold as surgical alcohol). If you want to make spirit varnish it behaves much better if your alcohol is water free. Isopropanol (IPA) is made synthetically and usually comes with very low water content. This also works for spirit varnish and evaporates faster than ethanol. IPA is what gives the characteristic smell to the version of windscreen wiper fluid.
  5. I once repaired a peg by fitting a new little ebony pin. You have to turn those. If you want it fancy I can recommend those: https://www.hansellviolins.com/ornaments-15-c.asp
  6. I recently wanted to import something from the UK into Germany and gave up after seeing the regulations. In a sense I am glad that BJ doesn’t get away with this. in most other areas he does.
  7. What is needed to prevent varnish and pigments from running into end grains? Is a protein based formula enough or do you need something like clear shellac?
  8. I got mine cheaper but a long time ago. I remember one at Brompton's with a flat (i.e. not properly arched) back which was discussed here. I can't follow that you find them very variable. The wood he used for the back was always the same, he must have bought a tree which gave him a lot of fiddles. His scrolls, f-holes etc show very little variation. Another example here: http://viaductviolins.fr/archive.php?action=inline_search&search=3203 If anything they are too predictable.
  9. Don't know what one can say. I just wanted to illustrate this type of sound which I like. I have no idea how much this violin now is, I had it for many years. As I posted earlier, they go for €10-12k in the auctions, sometimes even below. The one in my photos has a slightly untypical scroll and the label has the year handwritten - all others I had seen were numbered and the year added in ink. But it has a certificate.
  10. Interesting are also his instruments made for Africa. They have pins in all corners, usually in the fron and the back, so they could be used in tropical climates. A friend had a viola of that kind. This was a good sounding instrument.
  11. And a normal one, not made for the conservatoire prize? I never liked this writing on the side, you can't play this in an orchestra. On auctions they go for more like £10-14k.
  12. I have seen one of those with the writing on the side in Munich - a mathematician picked it up for a few Euros from a fleemarket in an original Menesson case. He wondered whether it was genuine. I wanted to buy it but he wouldn't sell it. It was not playable at that point. How much are those in a violin shop? (I did not ask what you got for it).
  13. I meant he was the sole owner. He must have had makers working with him but I would not know who. Caressa&Francais bought his shop and worked there before.
  14. I have a Gustave Bernardel from 1892. This is has been favorite violin among a few others for years. But not everybody likes the tone. It is very overtone rich, which is not what most players are looking for today. This makes it very radiant, it carries extremely well, I love it for quartet playing, the E-string is a dream. You are always heard. From the artisitic point of violin making these instruments are extremely consistent and very precise. Fantasticly nice scrolls fluted to the very end, very sharp f hole edges. Immaculate edge work with a very wide purfling. In his work you will never find a kink in the purfling. Gustave worked alone from 1892. In his later years he did not use bright colours any more. All I have seen were from the same mold and Strad models. He used an inside mold. His blocks are somewhat square shaped, high linings. There should be a stamp near the top block (hard to see without opening it). Tonal ratings are very subjective. I played violins with Martin in the hallways of the Royal institution and know his taste - he has seen a lot and knows what he likes. This would not be the vilin that he would like most. Mein Song 2.m4a
  15. Maybe he fled from Brexit - apparently it is getting hard to take violins in and out of the UK. Does one have to declare violins now when entering or leaving from or into Europe?
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