Andreas Preuss

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About Andreas Preuss

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    humble craftsman

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    Tokyo

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  1. Must be from the earliest production. After Suzuki won awards for their violins, they displayed the medals on the labels. But I am not really an expert on the manufacturing history of the Suzuki company.
  2. Maybe you find my experiments on the super light violin helpful. The super light violin was initially a super boomer. Look on page 9, Nov 20th starting from THIRD CHANGE
  3. Definitely not French. A while ago I had a cello in my shop which looked pretty French too. But certain details were just not French enough. A little later I saw a twin on the auction with an original Matthias Neuner label. That explained all to me.
  4. I had the pleasure to have him met once while I was in New York. At that time I was going around to meet the members of the AFVBM because I wanted to become a member. Ill never forget my first phone call. A loud voice saying ‘HALLLLOOOOU’ answered my call. It was Bill Monical himself. When I visited his shop in Staten Island it was a journey to meet this unique man full of humor spiced with the monical way to talk. It was a pleasure to meet him. Condolences to the family. RIP
  5. @Marty Kasprzyk Marty, this comment made my day. Dang! Basically you confirm most of the points I came to conclude from my super light violin project. Plywood veneer edging. Decided. A word to the double layered top. Yours is getting 2.6mm thick, unless you graduate it later. I am not hesitating to make a top as thin as 2.2mm provided I have good split wood. Now I am actually convinced that all you need is to press 2 split spruce sheets into form and join them together. (Without sandwiching) I find your comment on the lacking cross stiffness of spruce most interesting. I f
  6. They don’t cancel each other out. Both can happen at the same time. I would like to add that restoration has a higher risk of doing harm to the sound because it is most of the time irreversible.
  7. Except for those who replace the bass bar on the demand of the customer.
  8. I can confirm this. It happens that the bass bar doesn’t match the playing style. I had a cello customer who had previously his bass bar changed and things became worse for him. So when I the cellist came in my shop I made him first play his cello to hear the sound but more important to see how his bow arm makes the sound. This player had a very light and fluent bowing. After opening the top I took measurements of the existing bass bar including the weight to determine the problem. The bass bar was not only pretty heavy but also very stiff. Accordingly I chose the lighte
  9. You might ponder as well if those fiddles left a shop in Cremona as a stinker. I would be rather be inclined to blame over-restoration and/or wrong adjustment to most of them.
  10. Yes, looks more practical but if you apply the idea of ‘survival of the fittest’ to this, well, in the end it didnt survive and there must have been reasons for it.
  11. The ‘negative’ stigma comes solely from mass produced instruments which have been rapidly and poorly made that way. If plywood is used, the usually procedure is to press an already glued panel into shape. This is the main reason why the arching does not keep its shape. However, IMO there is certainly room for serious research on those materials. This means that more thought through approaches might actually bring better results when layers are glued directly in shape over a mound. This was discussed in some of the latest posts on my super light violin thread. There are technical diffi
  12. Would be worth a test by cutting away the overhang (on a Strad) and see how the sound changes. I’d say that the curtate cycloid cross arching contributes more to the stiffness in that region than the overhang, because it creates a larger horizontal area around the rib contour. We could theorize if the overhang wasn’t ‘invented’ for more practical reasons than reinforcing the structure. If the instrument was closed, previewing any corrections which made it necessary to open it again, then having plates with overhang would make life much easier. However I think the strongest
  13. I would look on this from a pure aesthetically point of view. Assuming you make a violin with plates without overhang the corners would look pretty awkward. Additionally because you won’t be able to place the purfling in a structurally safe place approximately above the linings.
  14. @Don Noon @Anders Buen @Delabo @Shelbow you can make your prediction on the sound with a flat and graduated walnut back (weight c. 120g) thickest zone between the c bouts.