uguntde

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Everything posted by uguntde

  1. uguntde

    Violin I/D

    Ask the worm .
  2. 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?
  3. uguntde

    Speeding up suntanning

    maybe rabbit urine - although I would classify this as inorganic
  4. 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).
  5. uguntde

    f hole mystery

    You have an American flag in the baxkground. Could it nevertheless be an English cello?
  6. 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.
  7. 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.
  8. uguntde

    Help me choose a viola, Please!

    I would hardly ever favour a smaller viola for people who can handle a larger one. But I am only an amateur player and don't need to hold it 4-6h a day. In this price range I would simply go for the one that you find sounds best. I tend to judge violas based on their C string sound quality. If the C is good the G usually follows. It is also important that it speaks on the A. A bridge is lowered in a few minutes by a luthier. If you buy from a general music reseller this is of course more complicated. There are reasonably well agreed standards for string clearance over the finger board. The strings must not rattle on the finger board if you play forte. Play some scales to see how well you can handle the upper positions. D major over 3 octaves should work otherwise it is too limiting.
  9. uguntde

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

    Can I ask why there is consensus that the mineral ground reported by Barlow and Woodhouse does not exist on Stradivari's instruments? The finding was based on scanning electron microscopy and subsequent analyses used UV which would not detect minerals.
  10. uguntde

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

    There are many 20th century Italian violins (Fagnola, Oddone, Bisiach ...) and French (Gand Bernardel school) with spirit varnish. Their spirit varnishes are based on a mixture of resins, not just shellac (which is max 30-40%). Many of these violins sound good, at least for my taste.
  11. uguntde

    Johann Babtist Schweitzer

    Interesting way to set the bridge
  12. uguntde

    Strange Gand pere at Tarisio

    Tarisio in this auction (June 2018) has Gand pere with a 'special feature': on both the front and back a strip of approximately the width of the bridge was essentially flat, longitudinally from the neck to the button. You can see it on the pictures if you know what to look for. Certainly a curiosity. I wonder whether this was a weird experiment or a build for tropical countries or what? https://tarisio.com/auctions/auction/lot/?csid=2198749184&cpid=3519217664&filter_key=
  13. uguntde

    Strange Gand pere at Tarisio

    If you take horizontal profile there is a discontinuity on either side, almost an edge across the region of the bridge, where the plates become alomst completely flat. On the pictures you see this on the back: two lines running down the instrument, this is where the ridges are. Tonally it comes out very 'bright', high in overtones, as many of the instruments of this school. I personally do like this kind of tone, and think it was what they wanted: Instruments with a carrying, almost penetrating ringing sound. Hence a relatively stiff front (interestingly and back).
  14. uguntde

    Strange Gand pere at Tarisio

    The stepped arching was just so extreme. I did like the sound. The low estimate may be owed to that strange arching. It is just unconventional. With respect to workmanship I find this school amazing, the scrolls are absolute perfection. The violin of this school tend to be very rich in overtones, they have a very bright sound. I often play on a G Bernardel that is also built in this manner. In this Bernardel you don't see a flat ridge in the middle, but if you look at the thickness of the plates the same principle applies. Is this what you mean with 3-piece front?
  15. Well, she cultivated a 'dark' sound for a long time, lots of praise about her Pressenda. She made this kind of a hallmark for a while. But then, a few years ago she got a loaner Guarneri confiscated at the Swiss border - not so sure what shw really used in all these recordings. Maybe not the dar Presseda after all.
  16. Patricia Kopatchinskaja is my absolute favourite violinist. She played all the works for violin of Fazil Say, who is probbaly one of my favourite modern composers. She plays a Pressenda, which has almost become a hallmark for her recordings. She cultivates an anti-Strad sound. She may appear a bit wacky sometimes, but she is incredibly musical. Listen to her recording of the Schubert 's Tod und das Mädchen quartet which she mixes with modern things (alpha label).
  17. uguntde

    Viola - wolf on the F, G string

    More inspiration you find here: http://www.aitchisoncellos.com/publications/cello-and-bow-articles/technical-articles-about-the-cello/taming-wolf-notes/ I assume the spring mass vibration dampler is the Güth Wolftöter. The 'button' that I saw must be the Krentz Wolf Note Eliminator, a magnet with an oscillating weight that absolbs the eolf frequency. Looks a weird or at least techie. On my 16 3/8" viola a little piece of lead on the bottom of the finger board does the trick.
  18. uguntde

    Viola - wolf on the F, G string

    I know a cellist who has a great sounding modern cello. On the front there is something that looks like a button, but not to turn it on , but t turn a wolf off. I have experimented on various violas with small pieces of roofing lead, which I stuck to different places of the instrument (or the chinrest, tailpiece, or fingerboard) with double-sided tape to find the place where a little weight would remove or reduce a wolf note. On the viola that I play I kept a little piece of lead under the fingerboard and it is almost gone. This also removes a peculiar wolf on the open A string which is only there when I don't have my hand on the neck. I also found that violas with a big C string sound tend to have a wolf between e and f on the g-string.
  19. uguntde

    Orange violin ID?

  20. uguntde

    A few old violins compared

    I would go for the Guadagnini. But what strikes me most is how similar they are. We hear them of course all through a cheap microprophone which probably twists the tonal spectrum considerably. There is another such video where they mix in a cheap Mirecourt violin into a mix of interesting violins, and it is really not that bad. Interestignly, if you did this with violas the differences would be much greater. There are stylistic differences in violas (full tone vs nasal) that go way beyond a Bostonian vs a Alabama accent .
  21. uguntde

    Viola strings

    I have used the viola Amber for quite a while and never had a broken string.
  22. uguntde

    Speeding up suntanning

    One problem with UV tanning seems ot be that only a surface layer gets tanned. If the surface gets damaged white wood is revealed. Does the tanned layer go deeper if one uses a high power (1000W) lamp?
  23. uguntde

    Viola strings

    I also like Warchal Amber, prefer them over Warchal Brilliant, but they are similar. Warchal Karneol are very different, and I don't like them as much, for my taste they lack brilliance. The new Larsen Virtuoso are worth trying, I heard them on a viola and liked them. Very bright strong sound. The C-G-D match the success of the A.
  24. uguntde

    Violin ID Quiz

    Are the pegs and tail piece original?
  25. uguntde

    Need opinion on possible maker

    A very nice violin. Does it sound nice? Very high pine linings, not willow. And a very interesting way of deep channeling into the corners. Is this typical for any maker? I guess the varnish is not original. It looks massively French polished. The Füssen instruments I have seen all had a higher arching. This arching looks later.