Andreas Preuss

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About Andreas Preuss

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  1. I agree with Jacob. Some amateur work. It has some individual flair though. For its age I would say it could be 100 years old, judging from the wear of the stained fingerboard.
  2. I once sold a Louis Dälling which looked like that.
  3. Martin, as as far as I know no maker in Voigtland (Markneukirchen , Erlbach, Wernitzgrün, Klingenthal etc.) ever used a mould and this includes violins from manufacturers like Roth. When I worked in Erlbach I was taught the method of 'Aufschachteln' which is extremely precise when practiced enough. When building the corpus makers put the assembled top ribs and back on a flat board to make sure that it is not wobbling. This gives often the impression that it was made on an outside mould. The back joint on a violin made on an outside mould is not necessarily in the perfect center. On Markneukirchen instruments almost always with an allowance of 0mm.
  4. Nathan, that's right. If machines were to make the entire instrument to the end precision is still below the trained hand made level. However, looking at how fast machines have developed I think it is only a question of time that we will see good (amazing?) results from machine made violins. I have watched a Ted presentation about marqueterie where the term hand made is already misused in a large sense. The marqueterie pieces are cut with laser and only assembled by hand.
  5. I agree, balance is the better word. -------------- Actually the way I understand Stradivaris thicknessing approach now, everything started with plates of uniform thickness which served as a base for the graduations. And I think graduations were made from inside and outside so that variations in the arching were part of the process. ---------------- For the aesthetic of a CNCed violin we are talking about something else. Handmade with trained speed has a certain taste which gives the instruments of great masters their unmistaken handwriting. This means as well that makers who are striving for the ultimate perfection in terms of precision and symmetry will sooner or later loose the battle against well programmed CNC.
  6. 'Am I a Violinmaker if I wait until a machine chews the wood into a programmed shape?' Except for cello backs I have always enjoyed to chisel the plates into shape and would be a sort of jealous if the machine would do this work. @nathan slobodkin has certainly a good point. Machines can't feel the wood while it is shaped and the instinctive use of tools when well trained violin makers work in the traditional way. It raises the fundamental question if there is an ideal arching shape regardless the material properties which can be replicated repeatedly by a CNC. On the top I can't see how this would work. One top made of Spruce with high stiffness lengthwise and low stiffness crosswise can't function for a given arching form the same way as a spruce top with low stiffness lengthwise and a high stiffness crosswise. However if some genius would find a calculation for the arching to optimize it to the property of wood CNC could do everything. Maybe the pioneers to develop this program are participating here and soon I have to watch the machine do the work I love so much. (Or I will become a rocket engeneer saying 'it ain't all violin making.')
  7. I hate to say it but after I had done all the work (that's already over 10 years ago!) everybody asked me 'and where are the pictures???' Making me think 'are we living in a porn world??!' Reviving it makes only sense when there are pictures. I'd love to do it but would need help of a supportive and well educated community. this means in real terms sharing photo material and putting seriously written articles in it. for the moment I can't see that happen. If I wouldn't have to work I'd probably sit down and figure out a way to make a violin identification sort of program but hey, I am not blessed like marcel Proust living from the fortune earned by his father to make the most unique and gigantic piece of literature in the world.
  8. My interest in making a database came mostly from wanting to know master apprentice relations and further to figure out what can be written in stone and what is only rough estimate for dates related to makers biographies. In the end I refined the database to the degree that I could see in which city and which year violin makers were working and if independent or employed. Maybe I should revive it now. For maybe 2-3 years I had a short version on the internet under the name 'the new encyclopedia of violin and now makers' it collapsed because I had a fight with the guy who put it on the net.
  9. I have seen the Baxter database. It is made very simple. The problem is that his information is based on books in the English language which means that it is for the contents just as good as Henley.
  10. I have made one with over 5000 makers compiled from all available literature sources. Didn't find enough support so I stopped selling it.
  11. I think you have done the right thing. Now you know how important the symmetry of the arch is (or rather is not) and working 'symmetrical' allows you not to look for the imperfect perfection.
  12. Not really it is more gut feeling. However you could regard the whole neck scroll fingerboard as a driving mass similar to a flywheel. The violin body is then the vehicle which needs to be do be driven. So if the vehicle is light the engine can be weaker and vice versa. @Don Noonwill probably chop off my head for such an ambiguous scientific explanation.
  13. That's exactlyks what I jam saying. If a customer buys s wrongly attributed instrument which was described as 'made by' in the catalogue he can point out all the missing features in a lawsuit. (Having helped a customer in this situation I have to say however, at court it is not that simple. In the end we won the case but it was not only because I pinned down all the wrong features.)
  14. I see Scarampella as a maker who always wanted to work alone. Only when he got too old and plagued by gout in his hands he needed a helper and employed Gadda as an apprentice.