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Everything posted by uguntde

  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. They say it is tuned E-A-d-g-h-e' as a guitar (h=b). Here a blog about it: And wikiedia also has the information about the tuning 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, 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+ 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: 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.
  15. What do you use to colour your varnish? Will you apply a layer with more colour?
  16. What does this tell us about you Martin? This means you might be able to identify it as it is not, but as it is not you are also happy to say so. And it is easier to identify it as not being a Testore than otherwise?
  17. I am trying to understand some frequency analysis of instruments, and wonder whether some of the experts here could give me some hints. Number 1 is a spectrum generated using Audacity with strings muted, by knocking on the bridge. Major frequencies are: 231Hz – largest/ widest peak overall Shoulders at 203 and 259Hz 321 Hz 374/385Hz 453Hz – as large at 231Hz – about 2*231Hz 489Hz 534Hz (with shoulder to the left) 566Hz - 591Hz - 636Hz - 665Hz - 713Hz - 781Hz - 817Hz - 873Hz - 945Hz - 977Hz Could someone help me assign what is what? This is a 402 body length viola, nicely resonant, very good C string, well balanced sound with an interesting edge to it. Here another instrument: 210Hz Shoulder at 245Hz 342Hz 417Hz/447HZ 480Hz 592Hz - 567Hz - 594Hz - 636Hz - 661Hz - 714Hz - 781Hz - 821/ 851/ 867Hz - 941Hz This is a 41.6cm body length viola, very strong dark sound, extremely resonant on the C string, very large powerful sound. The better of the two, but the first one is also very new. I am trying to learn and hope some of you have the patience to look at this: What is B1, B1+, what are the other frequencies? Which sould would you predict from this analysis? Can provide a sound sample should someone be interested. I can later add some simpler Chinese instrument.
  18. I agree that this is not a JB Collin, the varnish is completly different, and the underground untreated (dirty borwn where the wood comes through). But the fingerboard of the Bridgewood and Neitzert violin is also untypical as Mirecourt makers always rounded the corners of the fingerboard.
  19. The 24 Caprices by Paganini are a good challenge for a grade 8
  20. There were just some makers over the years. I also think you can't call it Berliner School. But I know at least one luthier in that area who has an interest in Berliner Geigenbauer. It is a little like the Scottish makers ...
  21. Berlin school: Oswald/ Otto/ Max Möckel, Otto Seifert, Ludwig Glaesel, Dötsch, Ludwig Neuner. Seen as Berlin school by German makers. I know a luthier in Germany who specialises in this school.
  22. uguntde

    Wolf on viola

    You were spot-on with "so I'd look for something vibrating that does not radiate sound". This viola has a very thin fingerboard, made in Degani's style, hollow underneath. If I stick a piece of lead underneath with double sided tape the wolf is completely gone. How did you come to this guess? Because B modes can'e be around E or F?