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About JavierPortero

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    Temperley, Buenos Aires

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  1. Don't know about wood but a a violist I find the model is important in relation to the performer, finding the right size for you is important. I think. Some models are just easier to play. In terms of sound if too brilliant the instrument sound violin like, if too dark gets lost in the mix and the sound loses edge. Lots of compromises in viola playing!
  2. That maple stripe under the fingerboard, I guess is some suplemento for a too thin neck? does it affect sound or stability in any way? I have a viola with the same issue and was considering neck graft but this is s simplier solution. Sorry bout the off topic. By the way Causse is a high class artist and person, his tone reflects that.
  3. So, here a recording I made on a modern viola copy of the Archinto Stradivari made in 2010 by Martin Gorostiaga in Buenos Aires. The instrument was used extensively since it was fresh from the maker, shows lots of wear now, the oil varnish cracked quite a bit. I agree the sound is not as expansive as the modern Amati copy I have made in Cremona but the Stradivari model is SO easy to play, even across the scale and also exquisite design.
  4. What happened with this project? Great sounding viola models with plans woud be great.
  5. I think is great for a world class string player to perform on a brand new, pristine varnished instrument. Audience don't care if the violin is even a Strad, they are there because of the music or maybe just to be entertained a bit. All instruments were eventually new. I am really thankful to the maker when I comissioned my viola that he didn't wanted to age the instrument. 10 seasons and oil varnish made the instrument look great now.
  6. The Mac Donald, the Medici Tenor and the Archinto
  7. As a player I really like Strad violas, the sound really cuts, they are confortable to play and In my experience with the model they work in a quartet context.
  8. Ciao Manfio, Why you think that happens? An the sound comes from the player I agree... The Mac Donald Strad sounded really different in the hands of Schidloff, David Carpenter and Yehudi Menuhin (Walton concerto).