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Andreas Preuss

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  • Location
    ….at my bench
  • Interests
    non sportive bicycling, cooking, piano playing

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  1. This just confirms IMO quite visually what is important for a loud sound. High frequencies or overtones make the blend. My acoustic experiments on the new concept violin made a big leap to a functional violin sound when I managed to get more sound intensity between 2kHz and 4kHz.
  2. I have never seen that a sound post crack would develop on two grains simultaneously.
  3. Whatever they find. I’d say it’s by far more interesting to think about techniques of varnish application. This also answers partly what was made in which order and why.
  4. This throws everything back to the question what the human ear perceived as ‘loud’. Apparently there are frequency bands which contribute more to ‘loudness’ than others and that seems to be the simple reason why overtones are so important.
  5. I made it half through the video got extremely bored and then I channel hopped to the sound demonstration of mr. Langsather. He doesn’t even know the difference between Tchaikovsky and Massenet
  6. I would read it as FJK. In my database I could pull up three matches. Franz Joseph Klier Franz Joseph Koch Franz Joseph Kretschmer None of them has been reported in the literature to have used a brand stamp.
  7. No. Makes me wonder how the bridges of other candidates for the new design prize looked like. Regardless, congratulations to all.
  8. Regardless the chemical explanations, his claim to refine oil to a water like fluidity is correct. I tried it for the first time years ago with linseed as well as with walnut oil. Especially the walnut oil became very ‘thin’ after the treatment. Stored in a glass jar it kept fresh for 5 years now and didn’t form any skin on the surface or started to thicken. I couldn’t achieve the same results with water only.
  9. I am not so sure about this any more.
  10. For perfect symmetry the Markneukirchen method building from the back is better. Needs some training however.
  11. Depends what you define as ‘symmetric’. Makers if the past certainly had the intention to build symmetrical instruments but the baroque construction method limits a perfect control. (Technically speaking) Artistically speaking it forces the builder to create each time anew the impression of symmetry by eye. We might well ask ourselves how much symmetry is needed to produce ‘violin sound’? Or, couldn’t it be that absolute perfect symmetry rather prevents to achieve very particular sound characteristics?
  12. One thing which is very, very, very hard to imagine for us is a world without modern science.
  13. Hi David, Regardless I don’t see anywhere in the old times the obsession for precision we have nowadays.
  14. Especially if we consider that the ‘millimeter’ didn’t exist 300 years ago. We should learn how to square the circle.
  15. Hi Everyone, To make it short, for family reasons we decided to move away from Japan this month. Crazy family we are, we made the decision despite an ongoing pandemic and a war in Ukraine. I have already officially closed my business in April. But fortunately there is a young violin maker who will open his own business in the same workshop soon. In future I will work at home and I am looking forward to concentrate mostly on making new instruments. It might take a while until we are settled in our new home, so I won't be able to participate actively here for some month. (Not even answering on comments on this thread, with my apologies) (Heute ist nicht alle Tage, ich komm' wieder, keine Frage) - Andreas
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