VicM

1. My wording wasn't that clear : HOW do "we" know what "good" is ? 2. I do not think that a spectrogram gives us that much info as to predict how a violin will sound when actually used to play actual real music of complexity. How's a spectrogram going to predict the sound on the Finale of Tch or Brahms ? I really wish that some serious discussion will happen one day on MN on this subject. Just as an example, I have two quite usable cellos. One has a better presence in the tone but it is just ever so slightly slower than the other one and that makes it very irritating to play and hold good tone and articulation on it. Will a spectrogram show that ?

Maybe some ratio thing there - one of my daughters played on a 3/4 violin which was very good.

Most sincerely, I do not understand what you mean. Could you be so kind and explain in more detail ?

Do you think that following closely the old measurements may cause instruments to sound worse ? My "deep" question here is how would you know if it sounds "good" ?? P.S. Absolutely no disrespect intended - I just keep wondering for maybe over two decades what makes many posters here believe they know what "good" is. Maybe this can be a worthwhile discussion, who knows....

Thank you for your lengthy and thorough reply. Myself will reply via PM - I will need to give it some thought and might warrant further, hopefully beneficial, discussion. My comment re. Heifetz was intended to be sarcastic as JH was known to be very "icy" when playing. Himself and many others of the period thought any "dancing" or "acting" degrade the message. Looking forward towards exchanging opinions with you !

Pains me to agree with you but yes, you nailed it.

1. Who said that ?? Not me, for sure. My comment was directed to the somehow recent habit of "emoting", twisting, twirling like a dervish and the walking around. Seen none of those on Bach's scores.... People should enjoy classical music on the basis of the quantity, quality and depth of the musical message. The habits I mentioned are unneeded distractions. Or at least, that's what Oistrakh thought. And most everybody else until recent times when MUSICAL inspiration started to need serious help. 2. Who said that ? Not me, for sure. ( We are ( possibly ??? ) lucky enough here on MN that the ones educated enough not to enjoy anything are not around anymore. ) 3. Sarcasm doesn't seem to register with you....

Don't let amateurs drag you down. They'll beat you with experience....

Who's "people" ???? The people in the subway are not the select(ion of ) people buying tickets at his concerts. In general and by large they are interested in different genera of music. Bell thought he's going to "convince" them with his Chaconne ? For the uninformed and the classically disinterested the Chaconne is just disorganized, ear-scratching noises. And BTW, his Chaconne, there and then, sucked.

You are describing the typical, informed audience, attending Opera. It is this kind of snobbery which keeps Opera alive. In the past, it used to be MUCH worse - a third of them would only show up just before the ballet and leave immediately after.

You are dealing with musically uneducated audiences. A proper audience is interested in your playing, not in your dancing or face-pulling - i.e. emoting. The constant emoting, the constant turning and agitation is what destroyed Heifetz' career. Don't let it happen to you....

Please do. Don't the "3 Gold Medals, 11 Certificates of Merit and 16 Grand Prizes for making violins, violas, and celli. Ed made over 181 instruments and 30 bows in his career and was designated a Violin Society of America Hors Concours Maker" speak for themselves ?

Smart people do. That's why they have them done........

What exactly do you mean ? With due respect, I noticed in a quite a few occasions your "hit and run" tactics in your posts. I wonder what the strategy might be.... On MN I read this : "Ed earned international recognition for his 3 Gold Medals, 11 Certificates of Merit and 16 Grand Prizes for making violins, violas, and celli. Ed made over 181 instruments and 30 bows in his career and was designated a Violin Society of America Hors Concours Maker." You surely don't mean to claim that all those Gold Medals, Certificates and ( 16 ) Grand Prizes were awarded in error - do you ? "Value of his instruments aside", I would be grateful if you would explain in some detail what exactly was wanting about his skill.

And your actual point is ???????????? ( in relation to violins... )