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About mbrancalion

  • Birthday 07/02/1969

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    Grignano Polesine - Rovigo - Italy

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  1. My violins' names: Adriano, Bruno, Margherita (a female), Giorgio. Some bows' names: Ottavio, Antonio, Marcantonio, Moro, Ciaro, Scuro .... Some names of electric basses: Alfa, Beta, Max, Alkadia, Dama, Lupin ........ My Yamaha DX7IIFD is named Mach Patrol.
  2. You could try "axis: logarithmic".
  3. I like VERY much the sound i'm hearing in this video.
  4. About 5-6 years ago a local amateur luthier, who was instructed how to build violins by my own luthier, let me play 3 violins he had made while he was, in a sort of way, still learning. Aside that they were quite good, i did not notice that a particolar one was build with a mistake: the bass bar and sound post were inverted in their position. If he hadn't told me i'd never find out, by only playing it.
  5. I believe that, in this case, Audacity could be the solution. If the new recorded tracks, over another, have a little latency, you can even compensate by hand, moving tracks. Just give yourself a bit of "sync code" system when recording. The same way of the "ciak" when people make movies.
  6. I will go (as usual). I live less than 200 Km apart from Cremona...
  7. Could you afford, someday, a double blind test upon this aspect? .....
  8. Three violins that i own (made in 2009, 2011, 2015) have Wittner Finetunes peg (medium). The first two were retrofitted with them during their life, after several years, so i had quite a bit of "listening" time under my ear for judging the differences "before" / "after". Aside all of the usual benefits (stability of tuning, ease of it, ease of changing strings, etc) in the 2 violins which were objected by the intervent i noticed an increment of the "body of sound". In one of my instruments more than the other. And also a bit more of sustain. The differences where not dramatic, but i noticed them. I have to say, also, that in all of my violins i use sort of "trademark" tailpieces which permit to tune the non bowed part of the string between the bridge and tailpiece. I set all of the strings to resonate with a 1/6th of their length in that part. It seems to assure, when tweaked properly, a homogeneus comparison between before and after changing some elements (be it strings or pegs). Greetings.
  9. I've been using Pirastro Tonica stark (aluminum E) for many years, in different violins. At least 2-3 times i found out, in these last 3-4 years, that just unwrapped from the envelope the A string had some dents in the B-C space, in first position. I could not play them. They always were readily substituted (online). So i tend to think that in particular the A string production line had, or currently have, something wrong. Note: i skipped the problem now because i chose not to use anymore Pirastro strings, mostly after an email exchange with one of the reps regarding their dismission of light and heavy tension sets in many models of strings they produce (Tonica included). It was a very unthinkful move, in my opinion. They say differently ......
  10. I leave it ..... Sometimes i like to record in stereo, sometimes in MS, sometimes in mono, sometimes with 4 mics with an added condenser clip. Every system has its space and reason to be, as far as i've seen. Absolutism is never an option.......
  11. So, you are assuming that the recorded material will be listened only by using earphones? ......
  12. To the OP: if it was me, the first thing that i'd try would be to move the soundpost a bit towards the bridge foot, and set the soundpost a bit less loose. Greetings.
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