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Geigenbauer

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  1. I am reading some older threads about recording and microphones. Because this one discusses home recording I wanted to add this recent video from Ray Chen. He did a recording in his home with the help of a remote producer and some very nice equipment. I found this interesting to watch.
  2. I am following this discussion and trying to learn. Just wanted to point out that the STRAD 3D material has longitudinal CT scans of the three violins for comparison in the "image - 3violinsCT-compare" folder. These scans appear to be a bit off-center (the end pins are not visible). The top scan (not sure which violin it is) appears to show a bit of sinking at the bridge and maybe (?) some bulging?
  3. 102 and 103 next to each other for comparison.
  4. Just my two cents: I use lab glass beakers for cooking varnish and cover them with aluminum wrap if I want a lid. I would personally not use an Erlenmeyer flask because I think it would make it difficult to deal with foaming/frothing. It would be difficult to stir the varnish in the flask and the taper toward the top would make the froth rise very fast (I think).
  5. The question rang a bell... When you look on the website of "The Strad" you can find an article termed "7 tips for perfecting purfling". Jan Spidlen describes how he creates "scarf joints" in the C-bout purfling.
  6. Rue, I found your picture here: https://www.akg-images.com/archive/-2UMDHU8IX0AD.html The description says "Christian Ferras playing on his Stradivari “Le Président” from 1721". I could not find the instrument on Tarisio though. Not sure if it also known under a different name.
  7. Looks French to me. But unusual wood. Definitely not pernambuco.
  8. Looking great Don. Thanks for sharing!
  9. I think this software was also mentioned in the previous thread. I have not tried it. http://www.magicprobe.net/mag-ic-probe-software-1/
  10. Although I am apparently lacking common sense then, I will say that I have tried both: carving plates by hand as well as designing plates in a CAD software and cutting them on a CNC. IMHO both ways are not easy...;-)
  11. I will add my two cents: I believe great looking and great sounding violins can be made with quite different approaches (or anything in-between): - They can be made by makers that use all hand tools as well as by those that use the latest power tools/technology (including CNCs). - They can be made by those that cook their own varnish and make their own pigments as well as by those that buy commercial varnish and pigments. - They can be made by those that read and embrace the latest science as well as those that rely solely on experience and intuition. In the end, I think it is the result that counts. When I see a great looking instrument (antiqued or pristine) made by a single maker anywhere in the world it is my assumption that it took the given maker years of study, practice, trial and error and lots of hard work to get there. There are no easy buttons. I have great respect for anyone who is able to make such instruments no matter how they do it. This is based on my own limited experience as an (amateur) maker who keeps his work well hidden from public view ;-) Re the original topic: I use a power jointer to flatten backs/tops and establish a square edge. I then use a No.8 jointer on a shooting board to do the fine work before I glue using parallel clamps.
  12. Looks like one to me. It is probably a high-end model with a near perfect energy to heat production response relationship. $2K plus. * just being jealous because I don't have a nice microphone...;-)
  13. Just guesses: First line: no idea Second line: Geigen... Third line: ....an Forth line: der Isar 1860
  14. This problem made me think of this cute little animal.. I want the egg-laying woolly milk sow.
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