uguntde

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About uguntde

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    Senior Member

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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. uguntde

    Does anyone NOT build Strad? And if not, why?

    I really liked the tone of the Stainer in the last Tarisio auction in London. Has anyone else played it? It was on the same table as the Oddone and the Fagnola, although much nicer in tone.
  2. uguntde

    Mittenwald Violin ID

    It is hard to distinguish any different makers but Kloz from the Mittenwald school. Even with the early Hornsteiners it can be difficult without label, because they worked with Kloz family members. Many of those German makers put in wrong labels, Kloz family members took Stainer labels, and later others used Kloz labels. Regarding Italian violins I remember a Guarneri in an auction a few years ago with a Hamma certificate, which was proven not to be Guarneri by dendrochronology (probably a Voller Brothers).
  3. uguntde

    Mittenwald Violin ID

    To get some sense into this: how do you distinguish Hornsteiner from Kloz violins when there is no label? Is the U-shaped insert in any way typical? Also strange to replace a back with one with the U inserted, why not make a proper one? Maybe a secret signature from? As a general rule I find that violins of this kind (German 18th century) without label are almost impossible to authenticate. Although, this one actually has a label. With 'The German experts seem to accept this as Kloz' I meant solely the varnish, which is not the typical water soluble stuff. It seems to be accepted that this type of varnish appears on Kloz violins. They seem to have used different types of varnish.
  4. uguntde

    Mittenwald Violin ID

    Not to or not too?
  5. uguntde

    Mittenwald Violin ID

    The Kloz family varnishes vary. There is this famous glue varnish which is water soluble. But you also find other varnishes, like the one on the violin depicted above. The German experts seem to accept this as Kloz.
  6. uguntde

    1759 Gagliano Pawned for $50

    I met someone a few years ago who bought a G Bernardel in a Menesson case for something like €30 at a flee market. It was undoubtedly genuine although not strung up. Such things do happen.
  7. uguntde

    Superglued crack on a violin?

    I don't know how well Aceton works but I can confirm it is completely harmless.
  8. uguntde

    Turin blockology

    I have seen this striped paper in some French violins. Does anyone know what it is?
  9. uguntde

    Violin I/D

    Ask the worm .
  10. uguntde

    Help me choose a viola, Please!

    5mm between top and bottom ribs is a lot. Is there a recording somewhere on the internet where one can heat one of your violas?
  11. uguntde

    Speeding up suntanning

    maybe rabbit urine - although I would classify this as inorganic
  12. uguntde

    Help me choose a viola, Please!

    What string length and rib height do your instruments typically have? My main instrument has a 370mm string length, 38/40 rib height, 16 3/8" body. Among modern good violas I see two main types: Some persue a more nasal tone, a more traditional viola sound. I personally prefer modern violas with a more open, bigger tone (maybe this is what you call clarity).
  13. uguntde

    f hole mystery

    You have an American flag in the baxkground. Could it nevertheless be an English cello?
  14. uguntde

    The ground ( sealing) of the great masters - which was it ?

    The bass making opus is excellent.Hargrave is not only a good maker, he is also an excellent writer. I read it in one night, could not stop. https://www.roger-hargrave.de/PDF/Bass/Bass_Making_Part_12_72.pdf Zaal and Hargrave's view expressed in this article is as follows: "This was about the time that John Dilworth and I started looking at the possibility of analysing varnish samples. This eventually led to the works of Professor White, and Barlow and Woodhouse. I can clearly remember the influence that those first electron microscope pictures had upon my thinking. The conclusions I drew from their work may or may not have been correct, but from that moment I began reading about fillers and extenders and experimenting with their affect, both visually and acoustically. Shortly after, both the sound and appearance of my instruments improved dramatically." and "What I can say is that the instruments where fillers were used, display one conspicuous characteristic; they all carry very well in large halls." He takes is plaster of Paris through a long-lasting procedure to remove the smallest particles. I assume this is to avoid getting a layer of hardening plaster onto the fiddle. He then applies it in water, not in oil. No protein, and he makes sure there are no glue residues in corners.
  15. uguntde

    The ground ( sealing) of the great masters - which was it ?

    Also, if you read Hargrave's bass maing opus he says having a minaral layer made all the difference in tone for him. He uses plaster of Paris, there are posts on MN that Neil Ertz later used pumice instead. At least I cam understand how fine mneral particles seal wood in a hardening linseed oil matrix.