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Derek Law

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  1. Some sound from the Maggini violin at Chi Mei
  2. Thanks for posting Dwight. The “dancing master” violin head is quite interesting!
  3. Agreed. If I were you I’d play the new violin for some months, have that well adjusted / test what strings / tension sound good on the violin, and then go bow shopping because the bow will need to work well on the violin.
  4. It helps to have at least an Italian-sounding name
  5. Thanks very much maestro. By wide deep scoop you mean curving the other direction before it reaches the edge, like most of the N. Amati ones? For del Gesu, based on your comments yesterday, I looked up his output for 1734-1737 (I am lucky enough someone is lending me the 2-volume Biddulph catalog from 1998), but not 100% sure if this is what you meant. For Strad, what are some of the examples you have in mind for the wide deep scoop? And do you think rib height affects tonal quality a lot? Is there a direction of development there?
  6. Yes, shop actually quite big in downtown Portland.
  7. Rib height is a very interesting topic. My simpleton narrative is: Strad messed around with long pattern and stumbled on the fact that it was the arching that mattered most to the sound, thereby opening up his Golden Period. Once this is known the sound of later Cremonese instruments are just better. Del Gesu knows this so he wasn't even playing around with forms / moulds like Strad did, and what he experimented with was mostly arching and f-holes. Not sure how rib height (and variation in rib height) fit into this narrative.
  8. I have the Plowden poster. I thought it was a nicer looking del Gesu in the 1730s; but the data seems to say it sounds the worst out of the 30 violins tested. Do people who have the Miracle Makers CD hear the same?
  9. When we asked about whether different composers write music of different sound quality, the answer would be yes, a Haydn sonata is a different sound scape from a Chopin Nocturne. BUT, at the hands of bad players, they can sound equally aweful. It does not mean that there is no sound quality difference between a Haydn sonata and a Chopin Nocturne, I think the implicit question the OP is asking is: [As made by good / competent luthiers], how would you characterize the sound quality of a Strad, Gesu, Amati, Guad, Bergonzi, Testore, Pietro Guarneri, or other models? And by "models," per the discussion above, I think it is the model as it is specified in the sense of a Strad poster ... no poster would be able to give all the information available about a physical object, but the basic parameters on posters to include plates thickness gradations, archings, etc. besides the size and outlines. I am interested in the OP's question - because if there are really no difference, are people picking models to copy purely because of looks? If it is not for tonal reasons, why do people need to pick generally good sounding historical instruments as a starting point? But if it is for tonal reasons, then the OP question is highly relevant.
  10. Paul Cortese uses a harp tailpiece: https://www.youtube.com/watch?v=exR6tMdGN6A
  11. But if you were in the bidding, maybe the violin would end up selling at ~$10M.
  12. I was minding my own business, strolling Tarisio's database, and saw that David Garrett was the one who bought this del Gesu. https://tarisio.com/cozio-archive/property/?ID=69587
  13. I join on p.11 so completely out of context. After an instrument is made (i.e. stop length fixed), a different ratio could happen just because the user wants a specific string length, I think.
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