Andreas Preuss

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Everything posted by Andreas Preuss

  1. if we reverse both it would only mean that we mirror the structural elements and the bridge still can vibrate in a pivoting movement and a jack hammer movement. So the question is what happens when the treble side bridge foot having more downforce drives the vibration of the 'bass bar'. I would expect some over resonance for the low strings. I suppose no one made the experiment?
  2. From this angle??? Must be made by Tellmiastori.
  3. @tetler @ctanzio Thank you for your assistance. I tried the property settings. No change. I looked at the recording device settings. No change. Scratching my head now. Maybe time to switch to the obie app.
  4. No I don't make cellos. Just preparing to make cellos since 7years.... The only thing new instruments don't have is history. If a musician can say 'This instrument has seen Beethoven' it has some inspirational grace. Thinking about value gain is on new instruments always a sort of speculation. Lucky those who hit a winning ticket. Makes me sometimes wonder how my instruments will be valued after I am gone.
  5. ok,I checked the privacy settings. 'on' or 'off' didn't make any difference and delivered the same error code. Then I switched to mono recording and at least could start the recording, BUT it just runs flat and seems not to recognize any sound. Any suggestions how to fix it? (Maybe Japanese version of Win10 doesn't like audacity in English? I had a similar problem with a printer long ago.)
  6. Just had today a professional violinist in my shop who purchased one of my instruments not so long ago for 4 reasons. Sounds as good as a Guadagnini the same player used in the past good old instruments are overpriced and therefore in monetary terms out of reach for almost any violinist. new instruments are in better shape The user can be more relaxed for paying insurance for it. Seems the violin world is changing. (I wish that banks drive the price for high end instruments into a price region where sponsors will worry about loaning them out to musicians. )
  7. I was half way kidding. I just see that players almost never ask as first question 'how beautiful does it sound?' but most of the time 'Does it have power?' The quote from Hindemith is a heading in one of his solo viola compostions. I think he somehow reflected as a composer how in his days (already almost 100 years ago) sound beauty played a role in music. In this piece, like in many other compositions, he took it from a humoristic side and composed one movement where 'sound beauty' really doesn't matter. Thanks for your analytical input on this matter, basically I do agree.
  8. It’s not only the people. Composers had often a typical string sound in mind when composing their music. If I remember correctly Carleen Hutchins made an experiment with the viola air volume and found that neither too big nor too small volume works musically in Mozart’s duos, because Mozart used the air volume sound characteristic in his pieces. There are certainly more compositions in this category, especially from composers who played the instrument themselves. However, music, instruments and listener perception is an evolutionary process. Violin sound has already evolved from baro
  9. I think there were many good experimental ides in the past. However, nobody tried to put the combination of different new ideas into a new concept. *) One of the most important things I have learned from the new concept violin project is that trying to judge alterations on a structure which is too stiff and solid doesn’t really show what is needed to come to a well sounding instrument. The new concept violin started as a unfunctional violin, too light and structurally too weak resulting in a sound which was ‘woofy like hell’. (Or the sort of violin you would rather throw into the garb
  10. I remember to have seen an early pre 1900 Leandro Bisiach violin which was absolutely stunning. In every detail a very faithful copy of Strad. The varnish was unlike later Bisiachs thin and very transparent and had a printed Label. At that time I was wondering how Leandro could have done this after only 3 years of presumed apprenticeship with Antoniazzi. So I concluded that it must have been made by Riccardo Antoniazzi. The violin shown has nothing to do with that. For the benefit of doubt one might think that Bisiach bought a fiddle from Markneukirchen and tossed it off as his work. But th
  11. Quite interesting, though my inspiration didn’t come from there. My idea came from the thought that the bass bar has to enlarge the vibration on a larger surface and at the same time give the top lengthwise strength. To do this with minimal weight I thought it is a good idea to curve the bar in both directions. And it works.
  12. It seems that this is hidden in the jungle of high frequencies. Though averages in octaves (or whatever band width you are using) might help to understand that, we need to come up with a better analyzing method. Maybe we get a better clue when looking at selected single notes and compare the sound level of overtones. The other thing i would try to look at is how a bowed note ‘kicks in’. Those first milliseconds seem to be a crucial sound judgement point for high performance players.
  13. As a maker I am trying to be pragmatic. So I have neither a oil phobia nor mineral phobia. The rest is a matter of how to make things work, because no scientific finding provides a recipe. So linseed oil diluted to 1% in turpentine oil might look just like pure undiluted linseed oil in the analysis result. (Don’t take that as a scientific statement) On the other hand when reading about medieval know how stuff, it is quite apparent that craftsmen back then were very well aware of different wood properties from different trees. On this background it looks not logic to me to treat the top of
  14. Thanks for posting the article, Bruce. After reading most of the responses, I think there is some misunderstanding about the article in this forum. If I am not mistaken the article is more addressed to an interested general public rather than scientific peers. At least that is my interpretation of the lack of sophisticated scientific language in the article. With some minor objections I think it summarizes major points pretty well. If I am taking the article from the conclusion, I am not sure if material treatment is the last missing piece in the puzzle. But regardless, until a f
  15. 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.
  16. 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
  17. 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.
  18. 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
  19. @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
  20. 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.
  21. Except for those who replace the bass bar on the demand of the customer.
  22. 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
  23. 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.