Andreas Preuss

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  1. Finish the fiddle as normal and make a button graft when the back is completed. Before inserting the purfling should be quicker. Made from the original wood it should become almost invisible. If this didn't work you still can put a 'damm-was-I-stupid' bullet in your head.
  2. Jacob, that's all very interesting. I didn't know that Homolka made the proof reading for Lutgendorff. Having cross read the major dictionaries on violin makers myself from the first to the last page, it is indeed quite astonishing what labour Lutgendorff put in his work. No single date goes without proof for it and the only regrettable 'mistake' in his ouevre was that he made 5 persons out of G.B Guadagnini. This shows however how meticulous he was, Lacking the proof for G.B.G. traveling from city to city he rather tried to stay on the safe side and see different violin makers working. In defense for Henley(!) I have to say that I found about 100 entries on American violin makers in his work which must be original. The rest of the close to 6000 articles is basically rubbish. His most track able habit was to extend working periods when Lutgendorff just mentions one year from a violin he had seen. Henley would read it and think 'no one works only one year' and he would systematically add five years on either side to prolong if to 10 years. He only got in trouble when later scholars found a death certificate that fell short of Henleys estimate. I want to mention too that Rene Vannes was a scholar equal to Lutgendorff. True, he copied articles from Lutgendorff without mentioning the source, but all translations into French are well done without trying to obfuscate the source. I found it very interesting that Vannes must have had direct contacts to Eastern German violin and bow makers because he mentions most of the time the correct workshop address. Those articles were obviously written by Rene Vanes.
  3. If you are talking about the Fagnola copies someone makes here in Japan, they are at least damm good. Don't think the old Chaki-San males instruments.
  4. Can a corner block become loose?
  5. Dodgy sales practices are more about what lawyers call misrepresentation. Fagnolas seem to be much appreciated instruments in Japan, happy a dealer who has one in stock.
  6. Thanks for posting the pictures. Interesting instrument. I wonder how they knew that the canon is thick in the back. Paganini was extremely nervous on any changes and I wonder if Sawicki or any violin maker in Vienna ever opened it.
  7. Would be really interesting. However, writing books is a hobby most people can't afford.
  8. @GoPractice Actually this happened in New York. I doubt that I was the 'authority' because usually my colleague Julie was meeting clients for sound post adjustments. But I suppose this client didn't have a long and regular history of before-concert sound adjustments.
  9. Good thoughts. Maybe a bit too straightforward for Japanese clients. Politeness is the art to say 'no' by saying 'yes, but...'
  10. You must be the lucky one who is dealing only with customers who know what they want. The psychology part is not really trying to talk a client into something it is more about understanding what the client needs and how this is done. Here I have a nice anecdote from my time at Machold. A violist comes in for a sound post adjustment because he has to play a recital. I am asking if anything is wrong with the instrument and he says that he is afraid that he can't be heard. I start explaining that 'being heard' doesn't have anything to do with the loudness but with the contents of the message. People will always listen to a good speaker who might even lower intentionally his voice to create suspense. The viola customer then said. 'Then I don't need an adjustment, I will remember what you told me.'
  11. I rarely adjust the post without the player, but if I do, I let the player play a few notes to me. Then I mostly watch the bowing. As a basic rule I do tighter adjustments for a player with a heavy bow arm. This means more tension and closer to the bridge. How close and how tense is impossible to describe.
  12. If I adjust the post for my own instruments: luck and intuition if I adjust a post for customers psychology and knowledge. For the 'effect' I always wonder how much difference you would be able to hear as a listener in a hall. In general I think it is more about responsiveness of the instrument and/or some slight shifts in the overtone range. In the end I want the user to feel comfortable with his/her instrument.
  13. For violin sound nothing is 'objective'. However if I can trust my ears I once experienced the difference in a masterclass of world famous violinist. Usually in concert situation you don't have a direct comparison which makes it a kind of impossible to have a clear judgement on the projection. In the masterclass situation I could hear the violin of the famous violinist against the students instrument and to me there was a clear difference. If this can be measured objectively is questionable. I think @martin swan suggested in another thread just to record the sound with an iphone posted in the last row of the hall. (Never had a chance to try it myself)