Andreas Preuss

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Everything posted by Andreas Preuss

  1. So now comes the real challenge. Make the super light violin sound. Here are the ideas I have in mind 1: open the violin and reinforce the rib structure with cross bars. 2: varnish the ribs from the inside 3. graft a neck with spruce type material which has a a higher sound speed than red cedar. 4: make a rib cage with heavy thick ribs.
  2. From Borax treatment to cocobolo wood discussion! actually very interesting. Never worked with cocobolo. But maybe this is a hint for using rather heavy maple. (So far the toughest wood I worked with was flamed chestnut. That's stubborn like hell.)
  3. A Thir with so long f-holes? Can't remember that any member of the family made such long f-holes. From the top of my head I'd rather think in the direction of Sebastian Dalinger.
  4. Actually, another question would be at which precision the joint of the back is in the center. Makers in the Voigtland region used a method where it falls with basically zero tolerance in the center. On French fiddles there is often enough a difference of up to 0.5mm measuring left and right.
  5. There are different ways to set the neck. 19th French makers for example set the neck to the center line of the top but gave the neck root a slight tilt to elevate the E string side. as a result the position of the button would shift a pinch to the treble (left) side. (photo taken from 'Les tresors de la Lutherie, p49, violin by J.B. Vuillaume)
  6. What is the material of the purfling blacks? How is the interior made? Materials? and are the C linings inserted in the corner blocks?er Is the joint on the back button in the center of the button?
  7. I think the overall dimensions are more important. In particular how deeply scooped the bar is at 1/4 and 3/4 of the length.
  8. if there are any car boot sales in your region. In my region there aren't any.
  9. Who knows if we are looking on Mr. Mackies original work? Could be that he bought violins on the white and only varnished them. Sufficient reason in those days to put one's own label. But maybe we have someone from South Africa in this forum who saw other instruments by Adam Mackie and will smash my arguments as absolutely invalid.
  10. Difficult to say. Our music culture is dominated by genres of music not belonging to classical music any more. More and more classical music lovers share their love with other other genres, let it be pop, rock, jazz or still something else. Without any proof for it, I think this changes as well how the audience in classical music perceives the sound of a concert. Sound 'power' is one keyword which I see in this context. Maybe (just my hypothesis) listeners and performers inconsciously look on the other popular music genres where 'sound power' with the means of an amplifier is absolutely no problem. In any case 'loud' seems to be the preferred characteristic not only for the instruments but the music itself. Why? Our world became louder in general. Most inventions since the steam locomotive are paired with new noises which are unloaded on the perception in our brain without being asked for it. This must have some consequences somewhere. The term of 'noise pollution' is already firmly established and I wouldn't wonder if someone already formed the term of 'sound stress'. As a consequence we see already classical violinists jumping on the amplified 'loudness' track and they seem to be very successful with it. I don't think that it is a coincidence.
  11. Dont think he made a couple of thousands.... ... but still an impressive number. The level of extraordinary competence is nowadays measured in USD. .
  12. 1. You can see it like that. You could say as well that 300 years of adjusting something which was always supposed to be the 'non plus ultra' brought some good results. (Playing advocates diabolus here) 2. I was saying that it is age plus alpha (or call it the unknown factor x) 3. Nobody ever compared the sound of a violin when it was made and 300 years later. It depends how you see yourself as a maker. In my personal view only things which last have quality from the beginning,, (prosperous on monetary terms aside) being respected in 300 years is for me a valid and good goal. 4. No comment. (Besides, if you look on the development of Strad in his over 60 years long working time at the bench? I would certainly say it is a helpful ideal. To me he was someone ahead of his own time.)
  13. Can't remember that Sacconi was talking about propolis for a sealer from the inside. A precise quotation would be helpful. However he talked about an inside sealer.
  14. 1. Then we can safely say that old violins sound better than new ones is a prejudice. 2. So there must be a reason why some 300 year old instruments sound actually amazing. 3. If someone wants to create a violin which he wants to last for 300 years it is a necessary condition. 4. I don't know what most violin makers want 'deep down'.
  15. Maybe then we have to look on a top plate like a composite material. I was often wondering how the top plate behaves if the wood is sandwiched in between a ground (varnish) layer on both sides.
  16. Varnish makers 300years ago presumably used iron pots the reason why traces of iron are found. however it is a sort of difficult to find an iron pot nowadays, all are stainless steel anyway.
  17. On your first point: Yes and no. We are not dealing with something which can be measured objectively, but if the subjective judgement of the majority of people thinks that one violin is 'better' (whatever this means in a given context) than another it should be taken as it is. For your second point: I agree that it is useless to think about how those instruments sounded when they were new, because their original baroque setup with different bridge and strings certainly didn't aim at the same sound characteristics we are seeking today.
  18. When we see this on an historical background we have to take into consideration that the time between 1750 and 1800 marked a change in the musical taste as well. The predominant Stainer model got 'out of fashion' and the flatter arched Cremonese instruments became 'en vogue'. Promoted by all those Italian .....ini violinists in the world their fame spread quickly in whole Europe and came along with Italian music by Italian composers. So in short I don't see that Italian instruments were solely judged as superior by their tonal qualities. It was more that their sound characteristics fitted better the new musical style. BTW I see something similar happening right now.
  19. I would suggest to cut out the question if we can replicate the acoustic properties of 300 year old wood. Lets rather ask the question if certain treatments can improve the acoustic properties and if can figure the reason for it.
  20. Like your humor, Evan. So to continue a bit of brain twisting blah, blah... ...,, if not Borax there are certainly other interesting ingredients and procedures . The 'mineral profile' of wood from Cremonese 17th and 18th century instruments certainly suggests some treatment. (Even though my initial question was not really aiming there) Remains the question how and maybe in which order. What I find often confusing about the research is that they make practically no difference between maple and spruce and there is a good chance that craftsmen (or wood dealers?) treated spruce and maple differently. In the meantime I have to convince my client that it is wasted time to make a whole cello from borax treated wood and hope it will bring the ultimate projection. i might need some borax for my joints as well. My left knee is aching already for a while and needs some grease.
  21. Can't say what it is but certainly not a Derazey.
  22. Once saw an old hill cello, I think it was Lockey Hill, which had an original spruce back. Sounded ok but not really good. More interesting for me was the Balsa wood cello by James Ham. This looked to me like a concept car.
  23. Too bad. The miracle would be if the Chi Mei foundation would jump in. Then Americans could view their national heritage in Taiwan.
  24. Martin, we shouldn't think like this. Why do we need always this one person who holds all the expertise in his pocket by issueing papers with no more content than saying this is this? Maybe it is wishful thinking but I hope that more experts on a limited field will emerge. In the art world there are experts for only one artist and I don't see any reason why this can't be for violins as well. Art experts usually write very detailed explanations for their opinion and if two experts disagree it is rather a battle of arguments. In the violin world I can't really see that.