Andreas Preuss

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About Andreas Preuss

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  1. Then this means that the way the thicknesses around the bridge are designed have a paramount importance on the overall sound of a violin?
  2. Thanks for forwarding this. I made a printout and still have to chew on the contents with my limited knowledge of physics. If it is possible to shift the BH resonance frequency (or resonances?) by altering the zone around the bridge it should be also possible to change it by the down pressure and location of the bridge, or not?
  3. I think it was in one of those STRAD articles. 'Musically speaking'i I cannot say what he is aimig at. It seems that in pursuing his musical ideas, whatever they are, he reached a sort of conclusion that building symmetry doesn't work for him. For more I suppose you have to ask him.
  4. 'harping' in a violin making discussion forum is probably not a good idea. That's an interesting observation. I was trying to find material on the bridge hill and the papers i could dig up from the net describe it differently though Many excellent violins show a broad peak of response in the vicinity of 2.5 kHz, a feature which has been called the “bridge hill” (On the “Bridge Hill” of the Violin J. Woodhouse) 2005 PDFs/BridgeHill.pdf So do you think the low bridge hill resonance is unique to Strad?
  5. I do issue a certificate with instruments I make. I am not so worried about how easy they can be copied. I am using some tricks which are pretty hard to copy. Otherwise I think it is the absolutely foolproof protection to have an online catalogue of the entire work. I don't know if it is possible to extend such an online catalogue after ones own lifetime.
  6. OK, yesterday I had a few minutes to take off the back remove the remains of the old linings and glue two new solid linings. I didn't expect too much of a change in the sound. However, it lost bit of its previous interesting non usual quality. But this quality was paired with some uneveness in the loudness, some notes being more muted. So now it lost a bit of that but became more even and is still pretty crispy. There is nothing which reminds of the previous woofiness except that the lower register is really full and sonorous. all this looks like an overall improvement. Same bridge
  7. Reading comments here, I would suggest to use the CNC as a roughing out device and not to get the scroll completeley finished. If I would imagiine to work from precise sawcuts (made in this case by the CNC machine) which are on both sides exactly the same, the finish shouldn't take much more time than giving a CNC scroll the final touch.
  8. Just a question out of curiosity. If not, where is the major problem doing this with a CNC machine?
  9. I mean, if you copy something where you think it has an issue from the beginning....
  10. To confirm or to dismiss Mkn/Schb I would check a few more points. Inside Blocks and linings How is the button on the back aligned with the center line of the back? Edge thickness at corners vs the rest of the edge thickness Pins on the top Symmetry of the outline. (I draw it on a tracing paper with a cutout in the center to avod distorsions. I can post pictures of how to do later.)
  11. Just looking at the central spine of the scroll, I wouldn't say it is Mnk/Schb.
  12. I agree. My experiment wasn't about influence of the outline anyway. I just wanted to show the OP that you can throw the outline completely out of balance and arrive at a violin with a normal sound.e On the other hand, assuming that the outline was the major cause for the bad sound at the beginning, none of the other alterations would have had an effect.