A432

It's odd that the letter "N" is backwards. Oriental copy ?

A couple of quick, lengthwise swipes over a glowing hot plate will tighten them⁰

Lead foil from the end of a wine bottle, wrapped around the stick under the leather grip was a Bill Salchow strategy for changing a tip-heavy bow's balance point. FWIW

As long as we're playing trivial pursuit, add that he bought it from Joe Roisman (Budapest Qt. )

Best, IMO, is the way Hill did it -- mineral oil and rouge. Rub it in for 10 or 15 minutes, wiping away excess.Fif youu should have the Heifetz (LP) recording of Vieuxtemps 5/Bruch Scottish fantasy you can see what it looks like. Not sticky, not shiny & already absorbed as much as it will absorb (stable). (google images pictures are worthless)

Don: they used baked wood?

Clarification: Engineering principles successfully applied in other areas, where they are actually useful. Here they are not. If they were, Mrr. Noon's measurements and calculations would have solved the Cremonese vs. ordinary problem once and for all. And their antithesis is not my feelings. It is directly perceived phenomena.

Clarification: Engineering principles successfully applied in other areas, where they are actually useful. Here they are not. If they were, Mrr. Noon's measurements and calculations would have solved the Cremonese vs. ordinary problem once and for all. And their antithesis is not my feelings. It is directly perceived phenomena.

In other words, since it cannot be modelsd using dialectical materialist axioms, it cannot be real. Even though everyone hears it.

Now into the Twilight Zone. If the resonance of the bow were not a factor, carbon fibre bows would have consigned pernambucco bows to museums. But the right bow can dramatically improve a violin's voice. Not every violin, and for sure not every bow. But the right Tourte/Persoit/Kittel can make a (potentially) great Strad (&c.) come alive. However counterintuitive, this is common knowledge among those who make their livings with them. One of the disappointments that galled Heifetz throughout his life was that he could never convince Louis Krasner to part with his legendary Tourte. It frustrated him to no end. Now the bow involved is vibrating/resonating in phase with the fiddle,, amplifying its tonal coherence despite having to do that through the hair, which is relatively inert. Change bows and the magic disappears.

Which (trivia question) he bought from Jos. Roisman (1st Vn, Budapest Qt.)

Soldiering on here. Continuing with real, experienced world bottom line/focus, only using abstraction to elucidate perceived outcomes: When a gymnast comes down on a trampoline, the frame bends inward. Followed by it springing back to its un-stressed configuration. And the weaker the frame, the more extreme the pull/release swing. Same deal with a violin neck, only the string is rotating around its axis (easily visible) -- circular rather than in/out, but analogous. So no matter how trivial it seems, it's there, and an integral part of the experiential gestalt. And the thinner the neck, the wider the oscilation. PS: the scrolls of many old violins are excessively worn away from having been pressed against wooden tables, which amplify the volume (vibrations) they produce (through the neck) You can't get away from it.

Thanks to all for their perspectives on this. I keep getting timed out when I write long, detailed posts, so short bites: I (incorrectly) assumed the neck/hand business would be viewed from an empirical perspective. It wasn't. Very possibly operator error on this end. Stop by a music store. Strum a guitar on the rack. Then do it again, same way, with your hand holding the neck as if playing it. If you hear a difference, do a blindfolded A/B test with a friend. If it turns out you really can, I'd want you as a tonal consultant. If you can't, then I think the much smaller violin neck would be even less affected. edits: typos

So minute changes in the bridge thickness produce noticeable changes in response and voice, but the mass, stiffness &c of the neck are irrelevant? In theory, the hand on the neck alters sound. In theory, same for an accoustic guitar . . .

What would be the likely result of re-shaping a normal round-ish neck to a Hill-style neck (rounded triangle) re response and tone ? Answer from real world experience please -- not theory.