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  1. Ritardo Perlacena sounds like the kind of Italian luthier name you might find on a laser-printed label inside a low-grade ebay wreck.
  2. I signed in especially to ask wire we discussing this here?
  3. This is why you have to read David Pye's book on workmanship, because he articulates very clear concepts and terms to discuss these issues. His book on Design is also very useful, and as a pair they give a very deep conceptual framework to understand all these issues of manufactured goods and the built environment in its most broad sense. Even if you don't share his own aesthetic preferences that doesn't matter because he is trying to articulate what it is that we are discussing. Otherwise we end up with "I know what I like and I like what I know"...
  4. Could just repaint it to return it to its "original" state?
  5. I suppose there is the possibility of asking to send it back for a refund.
  6. In LibreOffice Calc you can add error bars to the chart. Create your chart, click on it to focus on it, and then right click on the data points, one of the options will be "insert y-error bars". You can enter a value for all at once or each individually. If you know the tolerance of the measurements it really helps to show which clusters of data points are a real thing and which are an artefact of the measurement process.
  7. Not even very nice wood, had a lot of flaws that needed filled in with wood filler.
  8. Hmmm I disagree. Posting a set of good clear photos and a question "what do you all think this is" is always fascinating, no matter if the photos show a broken bottom-grade piece of junk or something exquisite by a long-dead master. The first thing I learned from following these discussions is that the first thing that's needed is a very good set of very good photos. The second thing that's needed is to promptly supply more photos of obscure details when requested to. The third thing is not to argue back with the residents!
  9. I have heard of instrument makers and other woodworkers who only use "reclaimed" timber so as not to kill any trees for their art. I'm wondering if making a human play the finished instrument in an orchestra counts as exploitation of a sentient being?
  10. Other way round surely? An old printed label would have the letters impressed because the metal type which carries the ink would squash the paper as it was pressed in the printing press. But the handwritten date would not be impressed because the writing ink would flow smoothly off the flexible pen nib?
  11. I'd not be quite as cynical as you Jacob; there are obviously broad "order of magnitude" comparisons that can be made. My usual reference for this kind of thing is https://www.measuringworth.com who explain in exhausting detail how they calculate their different indices. They discuss the differenced between wages, consumer prices, and national wealth / money supply. As for the fiddle, its very nice. Whether its good for a student would best be assessed by the student and their teacher, rather than opinionated posters on an internet message board, I think. But I would agree that the family provenence is one very positive factor that needs considered, as increasing the value of this instrument to its owner above its value to an anonymous buyer.
  12. I sometimes wonder about differences between keys. I used to tune and maintain a 1970s reproduction harpsichord with a sliding keyboard, so you could shunt all the keys sideways to have the instrument at A440 or A415. You can similarly easily tune a violin or cello down a semitone to get to A415. So then is there a "real difference" between playing a piece in the key of C major at a pitch standard of A440, and playing the same piece transposed up to C sharp major, at a pitch standard of A415?
  13. If you're looking to understand improvising on a bass like the old continuo players, then there are treatises on how to do that. I cant reference things off hand but there are period treatises on realising a ground or figured bass, and there are also treatises on playing (improvising) divisions e.g. Simpson's division-viol. Or you could find a good practicioner and ask for lessons. Many professional baroque musicians on keyboard, lute, or other bass / accompanying instruments (including cello) do this all the time as their normal way of performing, playing e.g. for a baroque opera production reading only from the single line bass notation and improvising the texture together live during the performance. And those I know who do this love it and can't wait for someone to ask them to show how it is done.
  14. Sorry, having great difficulty posting a link or editing useless posts. This is the discussion I was trying to link to: https://maestronet.com/forum/index.php?/topic/265986-baroque-violin-set-up/
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