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Andreas Preuss

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  1. You can force this with the bowing but on some instruments it happens almost automatically. Actually that’s one of the things which can be altered to my experimental experience by the string angle. I would have loved to hear more notes from the G string. I guess the player is very happy with his new acquisition.
  2. Thanks for fixing the link and I listened to your recording actually several times. So ok, we got the First Movement of the first solo Sonata by Bach, the Adagio. This doesn't permit to say a lot about the G string, but anyway here is what I think. For comparison I always listen to other recordings of a music piece to get a better idea to what kind of sound I am listening to. Despite different recording situations and different players I think it can at least refresh the first impression of an instrument. To my musical understanding of a good violin sound, there is more than just balance and clarity. Both are definitely well developed on your instrument. There is as well the feeling of a slightly 'veiled sound' which usually gives violinists something to work with for different sound colors. The veil of your instrument has a smooth silky texture. Its a matter of taste what kind of texture you like. On repeated listening there is one thing I would be missing and that's the kind of kick at the beginning of every note. This kind of 'bump' gives every note more sense of a very precise starting point. For the single strings, nothing I can really say about the G, the few notes in the chords give a good support as a bass line, D string doesn't sound too nasal, which is good in my opinion, A string has to my ears the best quality and I'd say that the E string could have a bit more sizzle. Probably all just a matter of taste, but if the new owner likes it, that's all you need. Would be certainly interesting to hear another sound clip one month later after the violin has stretched in. ------------------------- For the top weight a few grams certainly don't matter. It would just give a better comparison here amongst MNetters. We can't really imitate a certain humidity level of another maker but everyone can get it down to zero pretty easily. In Tokyo humidity varies from 30percent in winter to 80 percent in the rainy season, so I started to get this problem fixed. The thing about string angle is that it doesn't change the sound itself so much but does A LOT for the response and playability.
  3. Antique finish by accident is the best, because it looks natural. For torrefied wood the ground looks pretty light colored. In the spectrum I like the high frequency pattern. Unfortunately I didn't find the sound clip in your post. For comparison a spectrum of a half note scale would be interesting too. For data I would be rather interested in string angle, bridge weight and string brand, eventually a picture of the bridge itself. (As usual) How did you measure the weight of the top? I started to measure the weight after putting it at 140C for 15 minutes, to get the real weight without water. But maybe in dry California this is not necessary?
  4. Marty, thanks for the article. I just was flying over the results. Somehow it confirms my idea that a new concept can only work well if the initial idea is adjusted until it really works. All those violins in the list were based on some idea which was thought to bring automatically the better result, but apparently didn’t. It seemed that Robert Mores thought that the zoller Geige might work much better with more adjustments. (Besides, there is an expiremental violin by Thomastik as well. it has a kind of egg plant shaped f holes.) Concerning the blind tests, I agree that a good Strad mustn’t be better than another violin even if some lab test suggest so. However, it doesn’t make sense to weight the listeners opinion in blind tests too much. In the end the player has to feel comfortable with his/her instrument. For the Fritz tests for example I have no idea how good the listeners were in distinguishing sounds and loudness. Apparently Claudia Fritz didn’t make any listening test with them. I found it interesting to read that a tensioned back on guitars can alter the sound. This would mean that pressing the back of the new concept violin on a concave rib garland should have done something. Actually it did, and added overtones to the sound.
  5. Canada is a chilly place. I just read that in Regina temperatures often go -40c. Hope you have good heating.
  6. You can use all sorts of things to check how the feet really fit. Chalk, soft graphite pencil, China marker pen, and I heard that some makers are using women’s lipstick. The best method is without anything. Yes, that’s possible and I have done this in the workshop in Budapest. It is just unfortunately not very time efficient. Results are however very nice. Bridges look like sucked in the surface and must stand straight in the fitting process.
  7. Depends on to which working period you are referring to. If you really want to know, I’d ask Hans Nebel who was with Rene morel in the Wurlirzer shop. i suppose he made bridges in the first years when he became partner of Jacques Francais.
  8. I am almost tempted to say that this is a sound recognition feature of instruments by Antonio Stradivari. I’ve heard quite many and I always get the feeling that they sound ‘inside’ on the lowest notes of the G string.
  9. I am a little confused here. I guess you meant G string? ——- from my experiments I can only say that a lower than normal A0 resonance was one of the major issues which needed to be fixed. When it was too low the G string and the D string were pretty round and full sounding, sure, but it was too abnormal compared to what we are expecting from the sound of a violin.
  10. You should have seen the 1/4 size bridges on the rentals of Marc Rosenstiel. OMG! So precisely cut AND an ivory e string protection inserted into the top edge (like B&F bridges).
  11. True. But the pictured method can’t work on an old instrument where the surface of the top has sunken in under the bridge feet. Slight ‘deformations’ already happen when the bridge feet sink into the varnish of a new instrument (after one year or so.) So as I said, this works only approximately well on brand new instruments. I am not against new and better methods, but the sandpaper method is simply not precise enough.. I bet that a sandpaper fitted bridge will always show tiny gaps somewhere under the feet. Neither it will have the ‘snap’ feeling if you move it at the top back and forth but rather give the feeling of ‘rolling’ on the surface. You are working with a Dremel and a small rasp? Good if it works for you. ———— I have a bridge with Rene Morels stamp which must have been made by him. There are no traces of sandpaper under the feet. And I have worked for him long enough to know his sharp-knife work ethics.
  12. If the guy had Rene Morel standing in his back he’d be stabbed (at least verbally) might work on brand new cheap instruments well enough. David Burgess posted some ‘more genius’ methods quite a while ago.
  13. That’s certainly not an oopsie. Pictures like that were highly allegorical and it makes complete sense to see it as an allegory on the entire life of Jesus Christ. I am sure that you’ll find on a deeper analysis more things. I’d be curious which landscape and city is pictured in the background and who are the people except the three kings. (is it eventually a French painting?) —————- Well, Chagall didn’t try to be realistic and for the Eakins I’d rather say the guy plays a viola and the left hand looks weird on a closer look…. but you know what, if we go into the realism of musical instruments in paintings we could start an endless MN discussion about who is right and who is wrong. (Uups, shouldn’t have said that. )
  14. Well, I am not into theoretical physics as you know. On a quick search I found this paper https://www.google.co.jp/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&ved=2ahUKEwiOjvK2s6H1AhVRsVYBHQxBCCsQFnoECAQQAQ&url=https%3A%2F%2Flisafea.com%2Fpdf%2FJMC-Helmholtz_Resonance--Re-ct2.pdf&usg=AOvVaw2pQ9Vq9lFZZ8yuRyS3UijB which I am sure you understand in detail. What I understand from the conclusions is that the rigidity of the wooden box plays a role. But this would mean that the plates of the new concept violins were, when the air resonance was too low, much too thin. As a matter of fact this was the only thing I didn’t dare to alter at the beginning, in contrary the plates were rather stiff and heavy. Later when I thinned down the back from the outside I couldn’t measure any clear changes of the air resonance either. (Maybe I need to double check this) So I would see the cause for the lower than normal air resonance (when the NVV had still a normal rib height) rather in the paper thin rib surface. Edit: Actually what happens when the f holes have a different surface by their length?
  15. Not as simple as that. Two colored pigments blended together make a different color impression in different light situations than a pigment (which is basically not translucent) with a plant dye which is translucent. You take a red pigment in a medium colored with plant dyes. In strong light it will be vibrant orange, in dim light the pigments reflect better and the impression will be more red. With two pigments added together it is always the same color. I always make sure that my red pigments get their brilliance with translucent yellow. It’s a recipe I learned in the shop of Rene morel who always blended on the color board the madder lakes with the tutti galli plant dye mix.
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