Andreas Preuss

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About Andreas Preuss

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    preuss.tokyo
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    delgesu1735@yahoo.com

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  1. Andreas Preuss

    Andreas Preuss Super-Light-Violin Project

    Last attempt to bend the top failed. There were no major cracks along the grain BUT layers within the plate separated. Never thought this would be possible. However, I don't think it is the end for the idea, but for now as I want to finish the super light violin I am going back to the traditional carving technique. Bending with the method I described worked best on the first attempt, but this plate couldn't be matched to the ribs. The conclusion from there is that the fitting has to be reversed. The ribs must be fitted to the curved inside surface of the bent top.
  2. Andreas Preuss

    Shining the fingerboard

    Amor paste is perfect for this.
  3. Andreas Preuss

    1700's to 1800's Viloin - Need help with identifying it.

    I guess 1847 was also the year it was made. Looks just like a ordinary Schönbach fiddle to me with this type of artificial shading in the varnish.
  4. Andreas Preuss

    Stradivari's secret was a concept?

    We are probably speaking about the same thing in different words. But this is just the point where I think Strad loosened the use of patterns for a refined tonal goal. Because it was impossible to apply any calculation scheme how to balance the central mass against the rest of the plate tuning it at the assembled instrument would be just the most process oriented approach.
  5. Andreas Preuss

    Stradivari's secret was a concept?

    I met long ago a forrestier in France who said no one knows why some trees are flamed and others not. Lately I have more and more doubts about the importance of the back for the sound. What I would call the core of the violin sound comes from the top and the back acts more like an equalizer. Flames make the back rather weak in the weight to strength relation.
  6. Andreas Preuss

    Help reading a label - beware saxon dialect

    At least a faked label with some funny twist. Must have been someone who knew the misspellings of the original labels.
  7. Andreas Preuss

    Cucumber!

    Beautiful! We can learn everything from nature.
  8. Andreas Preuss

    Stradivari's secret was a concept?

    I am always teaching students that they have to look at the channel like a joint. If the thickness at the channel is thick the structure of the body will be rigid enhancing high frequencies because there is a bigger resistance especially where the body is more free to move (west east direction)
  9. Andreas Preuss

    The Universe Within

    The film by Mr Ervin has no doubt a highly entertaining aspect. Comparing varnish images with images from outer space doesn't reveal anything new regardless if the examined varnish portion is in all layers original or not. However let's assume it is non original varnish then this video demonstrates pretty well which tricks are needed to replicate the original stuff. But in the end anyone who makes some claims on discoveries should be able to present some proofs by replicating Strads work.I haven't found any picture of an Ervin violin which could convince me.
  10. Andreas Preuss

    Does anyone NOT build Strad? And if not, why?

    Don, I see the reasons why so many makers including myself copy or build on a DG model because it is less painful. Everything is rather thick and solid and there is a huge choice for models from the early period to the late period. I was copying more DG than Strad because there was a bigger demand. However personally I am still interested in building Strad models because I find his general concept very interesting and challenging. However it seems to be riskier to get everything 100% right. Otherwise I have done all sorts of models Gagliano, E. Ceruti, C.A. Testore, L. Storioni, GBG , C. Bergonzi, N. Amati and some of them worked for the sound better than what I thought. Last not least, if you include in your 3 models one early period DG like the Kreisler, you are as close to Strad as you can get with Del Gesu.
  11. Andreas Preuss

    Optical analysis of musical instruments - book

    Well, I can't speak Arabic either but somehow didn't forget German. (Das ist doch wunderschön, oder nicht?) I got a few month ago mail by mr. Schilbach for selling new Restauration products for varnish touch up. i am a bit sceptic about this because many people don't realize how much dirt and touch up is on old instruments which massively can blur the picture of optical analysis. But before I badmouth someone I ll see what it is about .
  12. Andreas Preuss

    Stradivari's secret was a concept?

    Top, yes, very different. I find the comparison of the back interesting. If we would fill up the scooped area of the Amati back with wood to maintain an almost even thickness we'd get very close to what we see on the DG.
  13. Andreas Preuss

    Stradivari's secret was a concept?

    Here we are getting into some substantial discussion. One small correction I would like to see on this diagram is that the down force is smaller than the outward force, so the twist is probably negligibly small when the thickness in that area is sufficiently thick. But the diagram shows very nicely how important the thickness of the edge is especially where it is closest to the bridge at the C-bouts. THen we can see that the width of the linings increases the stiffness in that area and Strad usually has pretty massive linings. This might result in a bit more brilliant sound. Third if the joint point gets more in the inside the leverage for the twist is getting bigger, so the whole body vibration is not stimulated so much any more. (My unscientific speculations, Don Noon will give everyone more precise answers) To me the construction of high performance quality instruments comes mostly form the right overall calibration of the top, considering arching, and thickness. The back is more like a sound modulator
  14. Andreas Preuss

    Stradivari's secret was a concept?

    Absolutely true.
  15. Andreas Preuss

    Stradivari's secret was a concept?

    Fprget t about the lowest point. If it is really on the purfling or a bit inside the purfling doesn't really matter. It is more about the points of recurves or where the center arch sectiion meets the concave arch section along the rim. Functionally there could/should be a difference if they are just aligned on the purfling or at the same level inside the purfling. (or even at a different level on the plate.) If the whole rim has a broad channel the plate should be more rigid than a ' German arching' Defining arching shape for sound properties is an aspect bluntly ignored by makers involved in acoustics.