Hempel

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About Hempel

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  1. Deconet didn't need to "lock an as-yet unknown Venetian violin maker in a basement." There are several so-called "unknown" lauteri DOCUMENTED and registered in the Venetian tax records, one of them being Zuane Ungaro who had a close relationship with Pietro Guarneri. That there are no existing instruments bearing an Ungaro label does not imply Ungaro is "as-yet unknown." Considering P. Guarneri begged for tax relief and did not not leave an estate to cover his funeral expenses, the "intellectual disconnect" is on you.
  2. I really have to wonder if you know your geography. While it is true AMAZONIAN deforestation is largely due to clearcutting/burning for farming and ranching, pernambuco habitat is in the coastal highlands of Brazil, quite far from the Amazon. In other words, pernambuco or pau-brasil's habitat is NOT in the Amazon. Not much clearcutting/burning of forests going on in the coastal highlands, but plenty of illegal logging. Nice attempt to conflate deforestation with ivory issues though.
  3. Your beef right at the moment is with the auction house. If the auction house lets the sale complete they will be an accessory to trademark infringement, at the very minimum, given that you've informed them that the work in question is not yours, but bears a label from you. In some respects you are lucky that this is taking place in Denmark as they recognize 'droit morale' with respect to trademark infringement. This means the Danish government can confiscate the work. This is precisely the reason why you should consult a lawyer while informing the Danish police in parallel. A lawyer will lay out multiple options for you, and these options need not involve the courts. They can just draft up a 'polite' letter informing the auction house of 'consequences.' The auction house will be more likely to take the matter seriously if the letterbears a letterhead from a lawyer who happens to be well-informed vs. a confused request from you.
  4. This guy Mark Steyn must be a total idiot and couldn't put one and one together to get two. The fundamental error these NH bagpipers made was they did not have a non-designated port entry exemption. If you have this exemption you can use a (pre-applied) entry point that's not one of the designated ports. I suspect that's also what happened to the bassoon player from the Baltimore Symphony. That player probably did not go through San Francisco proper, but another adjacent port like Oakland, and stretched the story for effect. This Steyn guy is such an advocate of free speech that he goes out of his way to put the following on his web site. He apparently doesn't understand the concept of fair use. "© 2014 Mark Steyn Enterprises (US) Inc. All rights reserved. No part of this website or any of its contents may be reproduced, copied, modified or adapted, without the prior written consent of Mark Steyn Enterprises."
  5. Sorry, plenty of people have given you a not-so-subtle hint regarding this point ("amount of loosened hair in a rehair"), and you're still pushing it. Roswell NM is desert. NYC is not. Take a look at the relative humidity and dew point charts here: http://weatherspark.com/averages/31497/Roswell-New-Mexico-United-States http://weatherspark.com/history/31081/2014/New-York-United-States
  6. Hempel

    Strange neck angle

    Post #4 is not at all off-topic to this thread. It's the crux of this thread. Check out where her elbow joint goes laterally as she shifts up: http://www.youtube.com/watch?v=DLa3ah3Se0Q#t=36 vs. your unquestioning adherence to the following BS. Once can only hope Ms. Hahn did not patronize a violin restorer that espouses such nonsense.
  7. Hempel

    Strange neck angle

    There is a reason why Weisshaar alumni are such lousy diagnosticians. The reasons you enumerated above, although true, have nothing to do with fb tilt aside from the existence of shoulders on instruments. I challenge you to find a proficient (non-beginner) violinist or violist who doesn't need to PIVOT his ELBOW joint laterally as he shifts from low to positions (say 7 or greater) or vice versa, especially for the top string The following quote of your fellow classman Burgess illustrates once again for everyone that he doesn't know what he is talking about. The gift that keeps on giving.
  8. Hempel

    Strange neck angle

    Well, we all know now that you've never made a 'flat' bridge for anyone who'd like to play Bach a bit easier.
  9. Hempel

    Strange neck angle

    I'm glad to report none of my fiddles require a raised G in order to have that meatiness that I desire.Just because I ask you for a point of clarification, it doesn't necessarily imply that I think that point in itself is a desirable quality, or that point trumps all other considerations. It would have to be balanced with ergonomics, or other pertinent factors, which is why I made the point regarding high position negative tilt. The bottom line is a positive tilt on the fb doesn't work for ME. Tertis apparently thought the same. If you re-read the first page of this post you'd see that sentiment shared by other players. I certainly don't make any claims that opinion is universal however.
  10. Hempel

    Strange neck angle

    No, the questioned I asked you is why you can't play any string height games as much as you like, without positive tilting the fb, as long as the player doesn't mind the change in action. Marty K. Made the point that an ideal ergonomic fb would have a bit of twist. I'm making up numbers so people can visualize what I'm talking about, the hypothethical ideal fb having a NEGATIVE tilt near the bridge end, and zero or positive tilt at the nut end. The Weisshaar quotation Burgess posted earlier is a joke, it shows he's never examined player physiology.
  11. Hempel

    Strange neck angle

    The difference is you aren't dropping the E. Please stop asking 'Are we're done here?' since ypu don't see anyone else arguing one particular point and thus concluding they done with the whole debate
  12. Hempel

    Strange neck angle

    How so? There is nothing that prevents you from raising the G (and possibly D, to minimize bowing interference) using bridge height alone on those two strings, as long as a user doesn't mind the resultant higher action. There is no need to, in effect, 'tilt' the whole bridge crown or the fb.
  13. Hempel

    Strange neck angle

    What we have here is a failure to communicate. If you re-read the thread, plenty of people got the idea that certain parties were advising tilting the fingerboard as the NORM. I'm too lazy to go look up the post numbers, considering you've censored the reference chart that I made. That list includes Michael Darnton, Jacob Saunders, Conor Russell, and probably a few more who I neglected to mention. Conor has replied to the uneven arching question. Since you yourself use the phrase 'rare experiences' these cases aren't the 'norm.' For example, if you've read the various arguments put forth here, for a new instrument, would you advocate putting in a fb tilt? Why or why not? It is also customary for the party advancing a particular point to put up evidence to support the points made. in fact you aren't even particular what these rare experiences are, and we're no mind readers
  14. Hempel

    Strange neck angle

    I don't see why these things you suggest can't be done by leaving the fb well alone. For me personally, even playing in the high positions, I don't really mind having a slightly higher action on the G. i like my G to by "meaty" and the higher offset from the fb gives more room to avoid buzzing.
  15. Hempel

    Strange neck angle

    Tabular summary of the tilt argument so far, with post numbers in parentheses: https://docs.google.com/document/d/14Iur9mHb9-Zzmw3fD6ZaywlRuPAcOkG_lBKrOHPTxc4/edit?usp=sharing (hopefully this works for everyone)