Andreas Preuss

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Everything posted by Andreas Preuss

  1. 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.
  2. 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
  3. 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
  4. 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.
  5. @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.
  6. Relieved to hear that there are other cases of madness out there. Building the instrument the customer wants is the logic of a violin maker. So this definitely doesn’t work. Or maybe if my name would be Andrea il Prussiano. Maybe I need to find a fake Strad made by Colin Mezin, to trade it with the customers Francesco Guadagnini.
  7. I tried already all sorts of dissuading strategies with the result that the customer comes back with new requests. looking on all with the eyes of a psychologist, I have the impression that all changes on the instrument are secondary. The customer seems to be attracted to the foreigner I am (and actually was before the client of another foreign violin restorer in Japan) and believes that such a person has the ‘magic’ Japanese violin makers don’t have. I am sure if a restorer from Italy comes to japan the customer will disappear the very moment, because ‘Italy’ has all the magic in this co
  8. Explains a lot! I send you later the bill for the repair.
  9. You nailed it, Duane. As much as I like to live in this country, there are some musicians which make me wonder how they get through life...
  10. Sorry for the imprecise description. It is a violin which doesn’t have the linings inserted into the corner blocks. I think the Francesco Guadagnini label is correct, but this is not topic of this thread. And unfortunately not an April 1 joke. First I started to write a header like ‘what would you do with a customer asking you to destroy a valuable instrument?’ Then it came to my mind that it could as well serve as a camouflaged April 1 joke. It’s a real headache and I am prepared to explode in front of the customer yelling him/her out of my shop. If the customer refuses to leave I w
  11. For clients who dwell in self made fantasies all absurdities are factual and real. I was thinking about that.... .... however knowing this particular client, I prefer to talk against a wall. Then I don’t have to expect any irrational answers.
  12. For this customer I will change my shop name into ‘Andreas butcher shop’. The story is actually and unfortunately true, word by word.
  13. The varnish on the back and scroll looks nice, on the top however not so convincing. Usually wear patterns on the top are not so patchy.
  14. Let’s see the goal in the landscape of the modern world: In future there are two path to make a living on violin making: 1. Learn to program CNC, set up a brand name for the product and do marketing. I say this because I see that machine work and CNC technology in particular will have a big influence on our craft in the future. 2. Become a sound maniac. Contact as many famous violinists as possible to get their opinion and work consistently on sound improvement until one of your instruments gets played by a known string player to promote the ‘GerardM-sound’. (There might b
  15. Today came a customer and requested from me to do the following things: Change all blocks and linings from a BOB structure to Strad type structure with linings inserted into the corner blocks. Paint flames on the neck and the ribs. Then revarnish the whole instrument (which has an approximate market value of 80000usd) To complete everything the customer wants to have the f holes changed from a Strad model to a Andrea Amati model, because the customer found a webpage which describes the acoustic benefits of Andrea Amati f holes. For cosmetic reasons the customer w
  16. If any laminating, the method you describe would be the most appropriate. However..... ...I see there quite a few obstacles. the wood panels must have very precise thickness The pressing is done with heat and moisture. Doing the glueing at the same time looks a bit tricky. Though if the panels are maybe only 0.5mm the moisture of the glue might be enough to make it bendable enough Biggest problem though is to have the positive and negative pressing moulds precise enough to guarantee pressure contact on the whole surface. If somewhere a glue layer is sandwiched in b
  17. Sorry to ask: Where does structure theory come from and where is it used? From restoration i know that squeezing the ribs to whatever position they ought to be when closing an instrument apparently doesn’t have any negative effect. But if I would imagine the top like a banjo membrane with more or less stress this MUST have some effect. This can’t vibrate exactly the same way a plate without tension does.
  18. Wherever those resonances land. I am just trying to ‘configure’ all parts to achieve a dense and full sound. There are still many ideas for experimentation flipping around in my mind. One could make by purpose some weak zones in the triple linings on the top side. There possibilities are numberless but maybe just a few well thought through variations can give answers on possible sound manipulation effects. Another unexplored topic is ‘built in tensions’. We tend to focus on optical measurable dimensions, but tensions should in theory make some differences somewhere. I once
  19. The spectrum comes from playing half note scale on all 4 strings up to b on the e string. A0 could be broad and weak because of the light body which is in this condition only 286g. In the end I am much more interested in the overtone spectrum because it makes the quality of the sound. ————————————————————————- Of course the violin is acoustically not symmetric. Just surprising that, as obvious as it is, we stick to optical symmetry and maybe nobody has a good explanation for that other than ,'this worked the past 500 years so there is no need to change it.’ thoug
  20. Well, I think it is really interesting. I thought too that a bent top would be stiffer. This one is slightly weaker if you take tap tones as a parameter. However the carved plate was varnished the bent plate not and this factors in. However this is not a good reason for me to abandon the idea of bending the top. First, 5he carved plate was split wood the bent plate not. I checked on the cutout leftovers how the wood split and it didn’t look too bad, but still was on a slight angle to the surface. But in the end I think this wood (actually a mandolin top) was not too goo
  21. With no proof, I believe that the ‘sound shape’ we know from violins comes from the spruce top. Though it might be worth a shot to make a laminated top I don’t have the motivation to go into this kind of Endeavour at this moment. But I still think that a bent top might bring some benefits. For the moment I blame the wood quality for a not completely satisfying result. I need as well to correct the mould. So there is for the moment enough work. Concerning f holes, I think it would be beneficial to develop a sort of system to adjust their length to the wood properties. For this asymm
  22. That’s a good basic rule. sometimes it is good to look at how the bar traverses the year rings. In case that it runs in this position along the grain I give it a bit more tilt to prevent cracking along the bass bar. otherwise I look at the flexibility of the top. On a soft top I give a bass bar a little mor tilt as well.
  23. It’s a new top made with bent wood. Weight is the same as the previous top maybe a pinch lighter. I copied for sound comparison the x shaped bass bar with the same length of all legs. it’s a kinda of interesting. the sound got more grit or texture. The total weight is now 286g, with no intention to make it lighter it got lighter. string angle is set very flat at 162.5 bridge height is 30mm I switched strings to dominant forte which seem to work better. the whole body is sensitive to added weight, so the sound feels different with or without shoulder r
  24. Next change. not telling right away what I made, but should be quite interesting.
  25. Thickness alone doesn’t make a bass bar unfunctional. Since you didn’t hear the sound anyway, l would leave it. sure it would be a PIA to open it again for a new bar, but I bet you the prospective players of such an instrument presumably won’t need a heavy bar anyway.