Andreas Preuss

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About Andreas Preuss

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    preuss.tokyo
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    delgesu1735@yahoo.com

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  1. Actually I made an experiment with thinning down a bridge but without checking the results on a sound spectrum. Si the impression just from comparing with hearing was that going down from 4.5 to 4.2' would give more edge to the sound, going further down to 4.0 would make the sound sharp -and still further a kind of raspy and on certain notes harder to control. i can't say however if this works on all violins the same way. My motivation was to find out how much I could alter the sound of my own violins to the demand of customers without doing massive alterations.
  2. How strict do you follow measurements, would be a question I'd be more interested in.
  3. You are a kind a sort of plane maniak, aren't you? Love it!
  4. Bisiach is one of the most abused name for mislabeling practice. Red flag.
  5. I heard that Greiner makes bridges thinner than standard rules would allow. However didn't see any of those bridges yet.
  6. There is no answer to your question without knowing what material you use what sort of sound you are aiming at with which kind of string and string angle and on what kind of fiddle the bridge stands. Like almost everything in violin making, experience should rule the numbers and not the other way around. Numbers which were fixed as rule in some workshops were mostly guidelines with some possible variations. Without experience a simple rule to follow is always to start too thick.
  7. Yep. I am living in a country where soon the mandatory retirement age will be raised to 99! Lol.
  8. Make it thinner to ease bending AND use a lower temperature. Actually half a joke half the truth. I think Strad didn't use a bending iron. Instead he soaked them in water first and then bend them on the mould. While drying it happens that the c rib cracks in that place and then it is too late. (Tried and tested myself) for this reason ribs are always thinned down to the minimum where there are narrow curves to ease bending with this method. However it is still difficult to bend a c rib with very deep flames. To my knowledge it happens to Strad only on deeply flamed maple rib material.
  9. Then, you must be one of the violin making geniuses.
  10. As the monogram clarifies it is indeed a German 'H' in Frakturschrift.
  11. Bonjour, of you refer to the cracked ribs, it is almost a signature mark of Strad, on other violins as well. Seems that he didn't know how to use a bending iron.
  12. Happy birthday, David if you want to become a bit younger I suggest to cut first your fingers and then your toes and then.... ... maybe better stop.