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About sospiri

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  1. Messiah wood (again....)

    Without exact dates and times and a lunar calendar, it's impossible to know what went right or wrong. Was he a moonwood believer? A moonwood skeptic? A moonwoodly open minded kinda guy? Did he even know how to harvest moonwood and when? Does a moonwood violin sound better when you play it on a full moon?
  2. The format is wrong too. As you say, she played with more cofidence. If she played the cheapest one last....??? These comparison vids always make that mistake. True I bought one of their bows too. $14 including shipping all the way from China. I wanted to see how good/bad a bow you could get for that little money. I use it regularly. It has a good responsiveness. The hairing is a student job, not bad but ok. The wood is pernambuco and looks nice apart from a tiny knot in the middle of the bow which for grading purposes is a low grade, but in effect I can't feel any change in the playability. I have about 20 bow and may favourite is a mid 20th century German or Czech bow that I really love. It's of very low value money wise but has a lovely feel. I wonder how much rejected pernambuco is actually good wood with a good feel but not looks wise? And how much high grade pernambuco looks good but doesn't perform well? What is it in the wood that gives the right responsiveness?
  3. What Are Your Études Study Plan?

    I transcribe them in my sleep. That was my thinking too. I'm not as dumb as I look.
  4. What Are Your Études Study Plan?

    J.S. Bach 31 Sonatas and Partitas for solo violin. Should keep me busy for a few years.
  5. Elements of construction and responsiveness

    Am I committing heresy when I wonder if some of the most famous violins are too thin in some places? I can't see the benefit, structurally or acoustically of some of the lowest thicknesses. Have they been re-graduated or was the initial carving perhaps a bit over zealous?
  6. Paul Kessler, Markneukirchen

    Nice guitar. "The ribs and back are of plain wood, perhaps maple, with a painted faux grain pattern under the varnish." Looks like Ash. Why would they think the luthier went to all the trouble of faking a grain pattern on maple to look like ash?
  7. Scales, scales and more scales. In every postion, every key. My technique for making this interesting and enjoyable (otherwise what's the point?) is to make up melodies and rhythms on the spot. Sometimes it might sound good, sometimes just random nonsense, doesn't matter because the end result is, I've used the time constructively. It takes thousands of hours and millions of notes to develop technique, so make it fun not frustration.
  8. Happy New Year! ... and resolutions

    I resolve to make no resolutions. I was thinking about giving up procrastination, but eventually came to the conclusion that leaving everything to the last minute has one big advantage, the rapidly approaching deadline is and always has been my biggest motivator.
  9. Paul Kessler, Markneukirchen

    Agree with the Mirecourt attribution. The excellent condition is most likely partly attributable to the very tough varnish.
  10. plate tuning specs ?

    The timber of sound, or the sound of the timber? You mean the timbre uncle duke? The timbre of the timber? Yes I agree. I am skeptical of big variations in graduation. Surely the inherent sound of the wood doesn't need to be altered by gouging out big scoops of fibres (or even fibers) here and there. I worry when I see measurements of top plate thickness less than 2 mm, is that really necessary? Does it really get better with age though. And how much plate thinning needs to be done?
  11. plate tuning specs ?

    I agree up to a point violinsRus. The 'magic', the superb sound, to me is a combination of a well made violin, with good wood in the hands of a superb player, who is in the right mood and concentration zone to play superbly and love the sound. If they can adapt to it instantly, or over time is also relevant. Every player will play and react differently to the same violin, and they all go through a range of emotions. The amount of subjectivity going on here is to big to comprehend and it all adds to the mystery. How much can the luthier control? I don't believe it is as much as many claim. I believe that in the case of Stradivari, his enormous experience and skill derived from that experience enabled him to reach the highest levels of craftsmanship in much less time than a lesser experienced luthier. I think the sound of his istruments is greatly mythologised because that's what the public want to believe. I believe there is a limit to how good a violin can sound. The magic is a combination of the wood, the construction, the set up. the music, the player and the listener.
  12. plate tuning specs ?

    Convince me that tap tones and plate tuning specs aren't delusional nonsense? Someone, anyone. Please? Because none of what I'm reading makes any sense at all to me. There appear to my sense of logic to be a lot of fairly random variations in plate thicknesses for no good tonal reason that I can deduce. Getting a beautiful sound out of a well made violin is the skill of the player. The luthier's job is to make it structurally sound and look nice. Why pretend otherwise? Do most customers actually want to believe the magic violin mythology and pay extra for it?
  13. If you are right next to your teacher in bright sounding room, her playing will sound harsh. So will any player in those conditions. If you stand further away in another room with different acoustics, you might hear her play the sound you love?
  14. Supportive and realistic. It's not really that hard to comprehend. Why do you think it has to be either or?
  15. No it's not. Read carefully. Rue said she can do it, but not all the time. It takes thousands of hours to get to a very high level. And some people have a few other commitments and can't do the three hours a day. No top player ever got there any other way than putting those hours in. A good teacher encourages the good points and offers realistic advice about the rate of improvement.