Michael Szyper

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About Michael Szyper

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    http://www.szyper-geigen.de

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    Munich, Germany

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  1. Those nuts are really beautiful! Love it!
  2. I saw it in the museo del violino under quite bright light. It was the most beautiful, intriguing varnish i could imagine. The color doesn’t have to be everybody’s taste but the transparency, ground reflectivity and chatoyance were stunning.
  3. Hi David, do you have any specific reason looking for strasburg turpentine? I tried what i considered to be the most authentic resin: I collected about 8 kg of northern Italy alpine spruce pitch and clarified it. Makes quite a nice varnish, but it doesn't cook as nice and red as the cheapest "bastard" colophony i bought a few years ago.
  4. I would recommend way more scoop in the upper corners.
  5. If that would be the real color that we see on this picture, then it is simply wonderful.
  6. Hi friends, would anybody of you be so kind and could take pictures of the measurements of the conte vitale poster? Since it is discontinued I have hard times getting any info about this instrument. Thanks a lot in advance!
  7. I use the dominant e as a first string up on my instruments. It emulates some kind of a worst case scenario.
  8. How can you prove that a layer consists mainly of substance x and not substance y if a method (EDX) is only capable of detecting substance x? As I mentioned, what I wrote is only an interpretation - i.e. the same what Barlow did with his data. I would like to discuss the methods used in those papers and mainly their weaknesses, because only then we can interpret the data in a better way. I just find it intriguing that the data provided by the publications is not all that different, but the interpretations does. I agree with you that FTIR alone is not sufficient to provide exact resin
  9. Dear friends, Finally I arrived at a stage where I would like to share and discuss my thoughts about the following publications: B Brandmair, SP Greiner „Stradivari varnish“ J-P Echard, S Vaidelich et al; „The Nature of the Extraordinary Finish of Stradivari’s Instruments“; Angew. Chem. Int. Ed. 2010, 49, 197-201 CY Barlow and J Woodhouse; „Of old wood and varnish: Peering into the can of worms“ JCAS Vol 1 no. 4 (Series II) Nov 1989 pp2-9 First of all, I would like to explain the very basics of the used and discussed methods: FTIR: Fourier transformation of i
  10. I am not sure about that, have to check it. There are reasons to assume that Strad did also cold mix his varnish. As I said before, I want to explain my point a bit more in detail...
  11. Yes, clearly: 80% per weight of heavily cooked Rosin, (weight after cooking), and 20% per weight of cooked oil. Rosin is the major ingredient. yes sir.