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  1. Yes, too harsh and too bright more than a question of loudness. Would you treat harshness and loudness differently? Will try that thanks yep, already using protection/plastic sleeve but doesn’t affect much. It seems it needs something more radical
  2. Hi there, Do you have any tips on how to soften the sound of an excessively sounding E string? TIA
  3. I would try that but concerned about end grain. Do you not fill endgrain with anything? So the oil/resin ground is basically a varnish but with a higher ratio of oil?
  4. I would try that but concerned about end grain. Do you not fill endgrain with anything? So the oil/resin ground is basically a varnish but with a higher ratio of oil?
  5. Hi there, What’s the actual consensus about the originality of the c.1575 Gasparo da Salò violin aka “Ole Bull” housed in Bergen? Also, what’s in common between this violin and the c.1560 (ex “Al Droubi”) from the Chimei collection? Are they really from the same maker? Thanks in advance for your enlightenment. S.
  6. I’ve tried once to torrefy in domestic oven at about 230F, spruce started to gently crack after a short moment. Do you torrefy for the color or to improve acoustic performance?
  7. Setting the FB angle at the time the set the neck Right, sequence is a bit different but don’t understand why there concern about these been less important than nowadays. Tracing an outline to make a copy. Almost any maker outside Italy copied the Amatis, so at least some people had to deal with tracing an outline to make a copy Making the sides perfectly square. yeah that’s true and thank god they didn’t care about that, one of the reason why they are still pleasant to look at (together with not being concerned about perfect symmetry) Damar Do you mean the resin? Metal strings eating the fingerboard As soon as wound strings were introduced they also had to deal with this problem, mid 17th c Graduating the top Maybe seen through the expertise of an engineer they didn’t have a great concern about graduating there tops but at last they were concerned enough to make instruments we still copy and study today using absolute measurements (instead of relative measurements. whatever the way they measure didn’t mean they didn’t have concern about precision and repeatability of there measurements I may be a little naive to think that they cared about every detail, but so far you haven't proven me wrong ;-)
  8. Thanks. What kind of things they didn’t have a concern for?
  9. Do you mean the patterns are no use and tap tones are enough or I am missing something? :-))
  10. Check out the Messiah and the Lady Blunt, they are enough to give a clear picture of what we’re talking about. Have you ever tried to fit a purfling under a baroque fb? Even A. Guarneri style? I’m pretty convinced the experience would speak for itself. So you think they didn’t care too much about neck angle? What you’re saying is Cremonese makers randomly nailed a neck on the ribs at any angle and corrected the potential errors by adjusting the wedge shape of the f/b, is that right? Sorry, I'm new here, but there is something I don't quite understand: why, nowadays, do we give so much importance and respect to certain aspects of the making of the great masters (varnish, arching, etc.) rather than to other aspects of their making that are considered as random, kind of amateur work? Why can't we see that they mastered all the aspects of making and that is why their instruments were played all over Europe in the greatest courts? And that properly adjusting the angle of the neck contributed to the success of making a great instrument because it has an impact on the stringing and the tension of the string, but also on the pressure on the bridge, etc., all of which is crucial for sound. I’m just wondering, happy to read your thoughts.
  11. The museum where Echard works have recently acquired this Amati cello, so he might investigate it https://collectionsdumusee.philharmoniedeparis.fr/
  12. True, but also loads of examples where the purfling goes further away under the fb It’s worth remembering that both finishing the outline and cutting the groove for purfling were done after closing the box. Wouldn’t make much sense to glue the board before these steps. I guess makers were more or less fussy about the look of purflings under the fb. Would you develop a bit more on that? I tend to believe despite the wedge system, neck angle is crucial.
  13. Not possible because the instrument is purfled after the box is closed and the purfling goes under the F/B
  14. Looks great! Did you start another thread? Cheers
  15. Yes, we're looking forward to hearing more about it
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