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A432

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  1. @t-n -- Thank you for posting that information. I have long wished that others would post what they have learned along those lines also, bono publico (ars gratia artis). Unfortunately though, not only are such useful discoveries not shared from competitive motives (knowledge is money, and the one who dies with the most wins), but creating a climate of hostility toward anyone sticking his neck out as you have has become the new normal, from sheer jealousy. Adjustments are discussed. But any such insights that would help newer makers produce better sounding/playing instruments ? No. Sad, but there you have it.
  2. Fiddle-&-bow mated pairs have changed hands for many, many years. The importance of the right combination isn't something that was just discovered last month. The improvement can be dramatic.
  3. Let's see if this one makes it past the brain police here: His orchestra (c9ncerto grosso leader) instrument was, reportedly, an Amati; his solo (sonata) instrument an Albani (so labeled -- made in Rome. At least three such are on record, FWIW).
  4. I'm surprised that no one's asked the most important fine tuner question. I.e., the higher the e string loop sits above the other three striings, the more tunung that string pulls it into a straight line, rotating the tailpiece on its axis and reducing the tension (downward bearing force on the bridge) of the lower strings, unbalancing the load. Does this not affect the g string in particular, but the d and a also ?
  5. Ebony frog + nickel silver mounts + fully capped adjuster = late eighteenth century. Learn something new every day !
  6. Thumb projection has been filed -- not worn. Carl Flesch, an influential pedagogue (taught Heinrich Szyring, among others) thought that manybthumb projections got in the way of getting the tnumb back far enough into the frog, triggering an epidemic of do-it-yourself modifiers with fingernail files. Like re-cut f-holes on fiddles, it's one of the first originality points I check on older bows. Wood, FWIW, doesn't look like pernambucco (?)
  7. Good, relevant overview re. early English bow attribution by makers : "Untangling the Dodds" in Strings Magazine (an easy google find). Surprised no one's mentioned it. FWIW
  8. "Prince Khevenhuller" Strad (1733) -- Menuhin, 1962.
  9. Consider the possibility that the frog is original to the stick but the adjuster is a(n) undersized replacement, the taper behind the frog an attempt to risguise this, and the frog/stick misfit the consequence of it.
  10. It's a salesman's sample of what to expect (full size). Hans collects them and, if he's still among us, would likely be interested to acquire it for his collection (projecting ca. 1985 situation into today).
  11. 1) Thank You for that. 2) There was some cognative dissonance here over the idea that someone (especially one not used to playing Cremonese violins) could not just pick one up cold and do it justice (this with reference to the Stradivari/modern blindfold test craze going on a few years ago). Janine not only makes this point emphatically, but hammers it home. Repeatedly. Reality is not really all that complicated but it only works the way it works. Using logic (what should work) in an attempt to model it and then imposing this on the phenomenon is substituting belief for experience. 3) Does anyone here deal with her and have first-hand knowleedge of who made her bow ? The video is almost perversely frustrating when trying to get a good enough slow motion look at it, but from the cambre, the head proportions and the frog placement relative to the the (short, divided) adjuster,r it looks more a Persois than anything else. Anybody ?
  12. Website's down. Down.com says it's unresponsive. FWIW
  13. By the time someone got around to approving this post a week or more had past (a not unusual response lag). This put my question the middle of page three (by design, I suspect), based on the date of the attempted posting. So nobody ever saw it. (ditto). One more time : who else in Mittenwald (or elsewhere ?) used this identifier ?
  14. Georg Carol Klotz used the same three notches as an identifier. Did others use it also ?
  15. Ponding wood was standard practice at one time in some places for a reason.
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