Jump to content
Maestronet Forums


  • Posts

  • Joined

  • Last visited

Everything posted by sospiri

  1. Very nice. I am an admirer of subtle and variable vibrato in this context. I also liked the fullness of the sound from a string quintet.
  2. Psychoacoustics is also what we think we hear, sometimes illusory.
  3. What about longitudinal tension, to help prevent the arching ridge sinking under the bridge over time?
  4. sospiri


    Is there enough rosin on the bow?
  5. Thanks for the reply. I'm fascinated by the possibilities of what these images offer in design and function. I was when I first posted here. Do you believe the nut and fingerboards on the 1668 and 1679 are original?
  6. And is it whimsical to suggest that some of Stainer's fingerboards may have been similar to those posted above by Davide? And Nicolo Amati too? Jackson and Martin, can we debate this without the ad hominems?
  7. I repositioned 6mm north with no difficulty. It really was simple. The 1679 Stainer is 8mm north of the pegbox heel. Both the 1668 and 1679 Stainers have a very thin nut very close to the G peg. It it really so unreasonable to suggest that the nut was moved up and down by some luthiers? And since that time all Cremonese violins have been standardised to modern string length.
  8. There isn't an ideal string break angle. Just different effects from different angles. An average number is probably best for the average player though. But I like the idea of having variables.
  9. Thanks Davide. Today measurements are so standardised. It was more variable then. This discussion shouldn't make people so angry. Yes and yes.
  10. And a tradesmen's entrance used by men hauling carts of wood.
  11. Yes. Bruce Carlson says the original neck was 120mm.
  12. I think they probably just changed the fingerboard as and when necessary.
  13. "It can be seen that the walls of the pegbox have been thinned out as they approach the nut. This is to allow the E and G strings easier access to the box. This feature seems to be original, but it may be a later alteration."
  14. Nut and fingerboards replaced. Sometimes with a longer string length. Why such hubris?
  15. How good do you have to be to hide the work? Anyway. String lengths on Stainer's violins... And how does one measure or guess the original neck length? From where to where... which begs the comparison to Nicolo Amati. Were Amati's necks fixed at 120mm? Was this a Cremonese feature? Or did they vary a lot?
  16. I did. Since my earliest time posting here. And experimented with different nut positions and string lengths at the same time. So Please tell me why this is a taboo subject?
  17. If the nut and fingerboard were removed, would we not be able to see if the pegbox throat had been altered? I prefer your X ray question though. I hope so. What do the experts say about string lenghts in Stainer's time? Less than 320mm to more than 330?
  18. Yes. Thanks for posting it. All the climate change alarmism, rhetoric and posturing means nothing if we can't save the rainforest.
  19. When you run out of space to hoard more violins, it's time to start collecting bows.
  20. How do you know it's unaltered unless you remove the nut and the fingerboard? Also, can you compare and contrast necks by Nicolo Amati and Jacob Stainer?
  • Create New...