uguntde

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About uguntde

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    https://www.birmingham.ac.uk/staff/profiles/cancer-genomic/gunther-ulrich.aspx

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    Male
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    Birmingham UK
  • Interests
    Science, NMR, string instruments

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  1. Bernardel made instruments for Northern Africa, which have somewhat ugly pins in all 4 corners.
  2. Very polite way of judging an instrument . Most English concertmasters (orchestra leaders) can't afford anythng like that and still find good souding instruments.
  3. uguntde

    Bow ID

    No stamp on mine - exactly the same nice decortions, and all in nickel. I would say my stick is just Brazilwood.
  4. WHat Martin describes has been the case for many centuries, but now modern makers from Italy don't have much of an advantage any more. American violins are now probably the most expensive, driven by soloists who used their instruments (e.g. Stern and Zygmutovicz). If one wants a 19th or 20th century violin there are some real beauties from German makers. Gärtner, Winterling are among my favourite 20th century makers. Investment wise it is Italian (Fagnola, Oddone, Bisiach ...). They were also good, but not better than the best German makers of that time. Much of this market is now driven by Asian buyers. Unlikely that German violins will surge in value, maybe except for good authentic Kloz family violins. For good German instruments it is a buyer's market.
  5. uguntde

    Bow ID

    I assume this is a German trade bow, probably not even pernambuco. But the frog, nickel mounted, has some nice chasing. I wonder who could have made this bow?
  6. https://simpk.de/arpeggione_790.html They say it is tuned E-A-d-g-h-e' as a guitar (h=b). Here a blog about it: http://arpeggione2009.blogspot.com/2009/08/arpeggione-stauffers-model.html And wikiedia also has the information about the tuning https://de.wikipedia.org/wiki/Arpeggione according to which the only old piece is that by Schubert but since a copy of an Arpeggione was made some more have been written for it (probably transcriptions). This is what it sounds like: Intonation isn't great.
  7. That's "Anleitung zur Erlernung des von Hrn. Georg Staufer neu erfundenen Guitare-Violoncells" = Instructons to learn the guitar cello that was invented by Mr Georg Staufer.
  8. Is there any piece beyond Schubert's sonata that was written for the Arpeggione? Apparently the instrument had disappeared by the time Schubert had written it.
  9. There is this article, www.jpschmidtviolins.com/Violin_Acoustics_2.pdf which I think is by Don Noon, our fellow maestronetter. It refers to this average table in the Strad for the 'key modes' of Stradivarius violins (I attached a screen shot of the spread sheet). I wonder whether anything along these lines exists for violas. What viola sound are we looking for? I know what I like, they must not be 'nasal', I like a strong C-string, I like it if they also have an edge in the upper strings (whatever this means). I have hardly every seen a viola at an auction that I liked.
  10. I am trying to get the higher frequencies - they depend a lot on the environment, one almost needs a sound isolated room - which I do not have. Any laptop fan in the background will add a signature. Higher frequencies from from frequency modulating power supplies (dimmable LEDs etc) all add to that sound spectrum. I work a lot with frequency analysis in science (I do something called NMR) and we would not accept a signal that does not have a signal to noise ratio of around 5 and is clearly reproducible.
  11. Thanks for this detailed response.
  12. Usually for violins only frequencies below 600Hz seem to be considered for A0, B0, B1, B1+ http://www.catgutacoustical.org/research/articles/modetune/modechrt.html Schleske looks into the noise at higher frequencies but then one needs a more dampening window function. He also reads a lot out of some noise: http://www.schleske.de/en/research/introduction-violin-acoustics/sound-analysis.html One should average these signals, this is what we do in my field, NMR spectroscopy. We ust average equal signals until S/N is stronger. The type of frequency analysis is similar (except that you can't get a complex signal, i.e. two orthogonal signals, from a violin). Schleske also plots the x-axis chromatically, which I assume means log2 scale, as any double frequency is an octave. Audacity can't do this, but I can use matlab if I can figure out how to fft a signal that is not complex (i.e. of two rectangular channels). Maybe a HIlbert transform and then a power calculation? All this has been figured out before but is not well dcumented anywhere. At least I can't find it. My fundamental question is which resonances should be strongest for a good sounding viola.
  13. Above 1400 it is mainly noise. But I can post it tomorrow. The dynamic range of my setup is limited. I used a Zoom USB mic and switched off all autoscaling etc.
  14. uguntde

    Violin ID

    Guaranteed not Blanchard. Kind of from he opposite side of the spectrum.