uguntde

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Posts posted by uguntde


  1. 27 minutes ago, Rue said:

    What is "wrong" with the appearance?

    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).  


  2. 9 minutes ago, martin swan said:

    In fact pretty much all conventional Gand Peres have 3-piece fronts. We have one on the website currently.

    He was a real innovator - I’ve seen this design before, have to say the Tarisio estimate seemed low to me. Glad to see people are taking an interest. 

    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?

     

     


  3. 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=


  4. 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).


  5. 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.


  6. 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.


  7. 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 :).


  8. On 6/16/2018 at 5:53 PM, scribe said:

    Yes peg box and twice in a week.  My friend's breakages were in the same place.  I was a bit spooked to discover the second breakage 30mins before a concert!   All I had at the time was a used Karneol long scale G in my case - I put it on to replace the short scale G on the smaller viola I was using and it has been fine ever since. 

     I switched  to Zyex (my previous favourite) for the larger viola at the last string change but I will go back to Karneol at the next change.

    As well as the sound, I like the tension and feel of Karneols.  Indeed all the Warchal strings I have tried have felt good under the fingers.   I use them on my violins too.

     

    Gordon

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

     


  9. 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.

     


  10. 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.


  11. 49 minutes ago, germain said:

    you are probably 100% correct haha

    Ebay doesn't mean it is not French. A few years a go I met a guy who bought a undoubtedly genuine G Bernardel in a Menesson case for €30 on a flee market.

    To say whether it is CM one needs to look at the linings (very high), how the f-holes are cut and the famous signature. The varnish for pere is usually brighter. The wood similar, but not exactly the same.

    I have seen Chinese of good workmanship, usually they don't get the edge as perfect as the French, and the scroll ends too early (how to I describe this better?).

    Usually they don't sound as good as CM, let alone Gand and  / or Bernardel.

     

     


  12. 4 hours ago, joshuabeyer said:

     

    Sorry but I think you are mistaken. While they are indeed cheaper, the bulbs at your link are very basic UV lights, they have none of the upgraded qualities which expedite wood tanning.

    I think I bought them there, mine are about 100W per tube. The parameters that count are power (in Watts) and the frequency (uva uvb uvc are frequency ranges). There are no slower photons, they all travel with speed of light. But you can have a higher flux density. I tanned wood with this already, got a nice yellow colour within maybe a week. The uvb dries varnish in a few hours.

    The more expensive ones are 1000W. Higher power will certainly tan wood faster. How strong a lamp do you use?

    But the result with a box with 2 x 100 or  150W was quite satisfactory.

    Sorry for having posted it trice. This was an accident.


  13. On 6/2/2018 at 11:03 AM, joshuabeyer said:

    http://www.solacure.com

    These bulbs and ballasts have sped my tanning time from 4-6 weeks to 4-6 days.

    You can find those cheaper: https://www.easy-lightbulbs.com/light-bulbs/uv-lamps/

    They are used a lot. UVB is safe, UVC is much more efficient. Sunlight has a lot of UVC in its spectrum, but this light is eye damaging. The process was analysed in great detail: https://www.ncbi.nlm.nih.gov/pubmed/26974579, Full paper is available here https://www.researchgate.net/publication/297647292_Wood_degradation_under_UV_irradiation_A_lignin_characterization

    It should also make the wood lighter, as mentioned by others, as fungal treatment does. You need a lot of UV light to seriously damage the wood though.


  14. On 6/2/2018 at 11:03 AM, joshuabeyer said:

    http://www.solacure.com

    These bulbs and ballasts have sped my tanning time from 4-6 weeks to 4-6 days.

    You can find those cheaper: https://www.easy-lightbulbs.com/light-bulbs/uv-lamps/

    They are used a lot. UVB is safe, UVC is much more efficient. Sunlight has a lot of UVC in its spectrum, but this light is eye damaging. The process was analysed in great detail: https://www.ncbi.nlm.nih.gov/pubmed/26974579, Full paper is available here https://www.researchgate.net/publication/297647292_Wood_degradation_under_UV_irradiation_A_lignin_characterization

    It should also make the wood lighter, as mentioned by others, as fungal treatment does. You need a lot of UV light to seriously damage the wood though.


  15. On 6/2/2018 at 11:03 AM, joshuabeyer said:

    http://www.solacure.com

    These bulbs and ballasts have sped my tanning time from 4-6 weeks to 4-6 days.

    You can find those cheaper: https://www.easy-lightbulbs.com/light-bulbs/uv-lamps/

    They are used a lot. UVB is safe, UVC is much more efficient. Sunlight has a lot of UVC in its spectrum, but this light is eye damaging. The process was analysed in great detail: https://www.ncbi.nlm.nih.gov/pubmed/26974579, Full paper is available here https://www.researchgate.net/publication/297647292_Wood_degradation_under_UV_irradiation_A_lignin_characterization

    It should also make the wood lighter, as mentioned by others, as fungal treatment does. You need a lot of UV light to seriously damage the wood though.


  16. I would say, violas smaller than 16" are easier to play for most players, but usually lack power, especially on the C-string. If one can't play a 16" one should better stay with the violin. I find 16-16 3/8" the golden middle - you also need ot get the rib height right. I have however recently seen some new violas of 15.5" with a great sound. I have personally not seen a single smaller viola that had a desirable sound.

     


  17. Borax occurs as a mineral that does not dissolve in water. Chemically it is similar to silicate, as B and Si are neighbours in the periodic system. Silica gel is a porous form of silicates. Boron does however have its very own chemistry due its 3-bonded nature.

    The Borax that is sold as a liquid which I assume is a boric acid solution.

    Sand consists of borosilicates, and glass consists of borosilicates.

    Do you agree?


  18. On 5/29/2018 at 10:13 AM, David Burgess said:

    But is it deliquescent? (I think that might be the proper term for what HoGo and I were concerned about). Will a saturated solution absorb moisture from the air, if the relative humidity is above a certain level, like sodium chloride will?

    Borax is like ground sand or silica (the silicium equivalent), it is not hygroscopic. Boric acid however is massively hygroscopic, and hence an irritant to skin and eyes. And is is probably the altter that is used to treat wood.

    My other concern would be that wetting the wood after all the effort to reduce its humidity, and then covering the wet wood with varnish, cannot be a smart idea. The Borax would either have to be applied before drying the wood, or in an oil matrix (like pummice in a ground).

    I personally believe that boronic acid residues found on old violins come from floating the wood down rivers into Venice, where wood would have been traded in Stradivari's time.


  19. On 2/4/2017 at 3:59 PM, Michael_Molnar said:

    Please. We need to be a bit more precise about what we are saying. First of all, terms like iron chloride or iron sulfate are ambiguous and misleading. There is a world of difference between ferric chloride and ferrous chloride. The same holds for ferric sulfate and ferrous sulfate.  They produce different colors.

    Second. My interpretation of B&G and Echard point to cochineal in the 4th layer of B&G's model much like a glaze. You can see this in the wear patterns. Unworn areas lean toward magenta while worn areas are dark red, a very different hue. Cochineal, however, was not always used by Stradivari. As Brandmair suggested, their book should be titled Stradivari's Varnishes. I like cochineal a lot for its magenta hue that I often see in the top layer. I believe Hargrave leaned towards lac which is related to cochineal. They are anthraquinone cousins.My point of clarification is that Strad et al. had more than one source of red in their systems of varnish layers. To my eyes, the red (magenta) glaze sits over other red (orange-red) sources, perhaps ferric pigments or rosinates (or linoleates). The list is long.

     

    Which one do you use? Ferric or ferrous chloride? In chemical terms it is Fe3+ vs Fe2+, the former is yellow-red, the latter green. Fe3+ complexes are usually red. But under varnish cooking conditions it shouldn't matter, because heat and oxygen will convert Fe2+ into Fe3+.

     

     


  20. On 3/20/2017 at 12:43 AM, Don Noon said:

    Not a good idea to post any photos directly after Melvin's, but here's my first full-fiddle use of iron rosinate in linseed oil.  I added quite a bit of Gilsonite to brown down the red of the iron rosinate (intent was to get a brownish result).  So far, I'm very happy with this varnish, even if the antiquing needs some improvement, and it definitely doesn't look Cremonese under UV.

    58cf24e0c5584_1703182.thumb.JPG.20d5a715f544559c0fda5d1628c3fb4d.JPG

    Was this varnish made by cooking linseed oil and rosin or using the Michelman method? It looks nice. I think I prefer the smoother transitinos between no color and color in Carl's violin, but then I prefer the iron red.

    Does anyone use a good spirit varnish?

     


  21. 6 hours ago, Danube Fiddler said:

    I don´t understand, why this violin should sound better than all other great Strads. It also is a thing of taste. I have heard Perlman only one time live - with sonatas in a quite big hall ( with piano). Projection was poor.

    In spite of this Perlman in his best times was my favorite violinist together with Zukerman.

    It is of course a matter of taste. I heard Perlman once live in the Liederhalle in Stuttgart playing Brahms, and almost an hour worth of encores, and I listened to lots of his recordings. And I find his tone intriguing. I am not talking about projection, there is an edge to the tone of his violin, as if it was very rich in overtones. I hear this even now when he plays Schindler's list.