Michael Szyper

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About Michael Szyper

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    Munich, Germany

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  1. That’s interesting stuff. How long do you wait between each ‚glueing approach‘? Do you flatten the glueing surface each time again?
  2. Of course a maker has to do something to decide how to go on. The best thing we still can do is rely on a good method we learned from an excellent maker (in the best case), rely on gut feelings and develop slowly. As i read your posts about arching concepts it seems that you have a damn good feeling which elements an arching should contain and which not. Besides of that, a scientific approach is very useful in order to understand which role the parts of a violin play (that‘s what we call finite element analysis?). To derive design concepts based on this knowledge is a truly long, hard way. This concept would help most of us to save time and go forward. But almost everybody of us has a more or less developed tendency towards spirituality, also in violin making.
  3. Usually I fit almost to the bottom because I am not comfortable with the pressure, since there is glue added to the joint it gets tighter anyway.
  4. Interesting that there is still a huge interest on plate modes, although almost everyone working on this topic came to the conclusion that plate modes and good sound are a coincidence rather than a correlation. Is it just because we can’t measure other things as easy on a free plate (besides weight)? It is a symptom of modern thinking that there has to be something measured, even if it has no impact.
  5. I always do the purfling on the closed box and never use my cradle for it. Just pushing it against a thick leather on the workshop bench.
  6. This is indeed a strong argument pro outside first. If they would have done it the other way round, this tool would be unnecessary. I do the purfling on the closed box and never clamp the box into the cradle during the purfling. There are mainly four methods of determining arching height I am familiar with: - Geometrical derived, based on measured wood properties - acoustical methods based on local tap tones or plate modes - a fixed height, mostly developed on empirical basis. - just copying a certain violin up to the last tenth of millimeter For the cremonese school, the last two are certainly excluded, but it still leaves a lot of space for speculation. A lot of methods may work quite well. What I observe is that no matter which method is used by a certain maker, almost everyone claims that he has found "the one" with the main two arguments always repeating: It seems to work in some way and was "invented" by the respective maker. IMHO it might be enough to find a good method which produces consistent results and not to worry too much about history because it’s a game that you can’t win.
  7. I would expect a slab to have a higher crossgrain / longgrain stiffness ratio than a quarter from the same log. (With decreased overall stiffness). Am I wrong?
  8. I like your setup a lot edi! BTW, of course I did not label the wedges, loose them and every time i have to scrabble in my wood to find a fitting one
  9. I clamp it lengthwise with the bench dogs and after that i take some cutoffs of previous plates and put the wedges on both sides - that makes it pretty stable.
  10. Actually - as far as i know - his son continued the business and is some sort of an established dealer in vienna.
  11. Very authentic and beautiful work as always, Manfio! Is this plaster of Paris over the ground?
  12. Please correct me if I am wrong but I thought that the violini piccoli were very small bodies with overproportional string length, their function was some kind of a travel violin for adults.
  13. Similar to the other thread with the most expensive violins, as you said it‘s all about marketing and psychology. The first thought one has about value is: To score a luthier, i calculate his deviation from the average violin price and the average building quality. The main problem with criteria of ‚undervalued‘ is that you have to compare a linear value named ‚money‘ with a non-linear value as ‚sound‘ and ‚building quality‘.
  14. Oops, sorry - for sure didn't want to take credit for Mr. Molnars magnificent work. Nevertheless, i highly appreciate your willingness to support me before jail time
  15. Habe die Ehre, Julian (as we say in Bavaria ) Thank you for the book recommendation, it is always good to have a modern proved version of the extraction methods. Dear Michael, sometimes I wonder if there are varnish experiments you haven't done yet . Actually, since I have done experiments with other colorants as lakes and rosinates and both didn't overwhelm me, I would like to try the linseed oil soap thing. Would you mind to give me a few hints about attaching the cochineal to linseed oil? I thought about starting with the soap as described in the Michelman book and mix the water-soap solution with carminic acid. I am not sure yet about the amount of alum, the point of adding it to the mix and the cooking temperatures. Jackson, I am looking forward to publish any result about this topic as soon as there will be some result worth sharing Already ordered tons of stuff yesterday from kremer and get started as soon as possible. (If hopefully the police doesn't take notice of my orders and workshop fumes and mistake it as a meth lab )