Delabo

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  1. My original post was a reaction to the previous page of the thread which was becoming very technical. More specifically the poster before me suggested googling - "The polar coordinate system" - which I did, and was met with a page of highly complex algebraic calculations ........... https://en.wikipedia.org/wiki/Polar_coordinate_system
  2. OK, so its more about knowing a method like yours ? https://www.youtube.com/watch?v=7KwaoCLqXa0
  3. Quite the opposite. I was asking if he was of of at least above average IQ or even more.
  4. "Incredibly complex" - relative - to what seems a simple task. It is "relatively" easy to see how a seemingly simple shape can be drawn by someone on a piece of paper. Various curves could be drawn using dividers - rulers - triangles etc and cut out with scissors and used to make a violin pattern on wood. A person with above average intelligence who excells in maths might wish to make this simple task "incredibly complex" because they like doing maths. Are you suggesting Amati, Stardivarius, Guarneri were of this ilk ?
  5. I have read some of your theory on your webpage, but it is very long and would take days to go through. Is this a personal theory or a widely accepted fact ? Is it not just as possible that Amati was artistic by nature and came up with a nice looking shape one day and people liked it and so he made more. And then others copied around his shape and made more. And then Stradivari copied around the same shape and tweaked it etc ?
  6. I have tried to follow this thread but am unable to grasp what the point of it is ? Is it suggesting that Cremonese luthiers were closet mathematicians who devised incredibly complex ways of making simple shapes instead of just drawing them freehand ? And how does using a complex mathematical formula make for better shapes than merely observing the shapes and forms in nature and modifying them freehand ? I get the use of dividers, they have been common for thousands of years and can be used to tidy up an inspired freehand drawing, but is it really necessary to go beyond using this simple tool to make a violin ?
  7. Just a guess but I would have thought that it has nothing to do with the actual celebrity Max Adler but is the name of the German who made it in Markneukirchen in the 1930s. A quick google turned up a number of bow makers from there with that surname.
  8. As a supplementary question it would be interesting to know when this idea of tuning plates developed ? The tuning fork was not invented until 1711 so how would Amati \ Stradivari etc have tuned their plates ? Could they have been born with the ability to hear perfect pitch and just tapped until what they heard sounded good ?
  9. So maybe its one of those fake Scarampella \ Gaddas that kick around in Japan if it rings no definite bells for Martin ?
  10. It gives me a good feeling when I look at it even though I do not have a clue what it is How does one distingush between Italian and French outside mold construction ? Willow points to Italian but shellac is more French ? Does the 358mm back length point more to French ? Its nice. Its one for Martin Swan, he will kmow what it is or isn't.
  11. How important is it to keep that superb old glue joint intact ? Looking at the general condition of the glue and its patina what sort of age is it ?
  12. Thanks for the additional photos. They confirm what Blankface suggested that it is a built on the back cottage industry German violin. Probably late 19th century.
  13. I am not doubting your expert opinion, only that I have difficulty in visualising how these fake mitres are achieved. One day I will glue together two mock ribs to see how its done. The best I can see in my minds eye is that a real mitre would have grain runout at the join on the mating side, whereas a fake mitre would have grain runout on the out side of the rib where it has been sanded or filed down.
  14. To know for absolute certain better photos are needed. A picture of the end rib and straight on close up pictures of the rib ends. Not at an angle like these.
  15. How are you arriving at this decision with such blurred and out of focus pictures ? To know for certain we would need to be able to see the grain direction of the ribs which is not possible with these pictures. If they were pinched together and then filed the grain direction would show this.