milkpowder

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  1. Thank you for the lesson! It's interesting that the water content in wood will be similar the same RH at varying temperatures. One would assume that because there is a higher AH t in the atmosphere at 50%RH 70°F than 50%RH 0°F that the wood would also contain more water. Is it not the case that eventually, the water content in the wood would go up if going from 50%RH 0°F to 50%RH 70°F. I am under the impression that the change in water content in the wood is the reason why instruments which are suddenly placedfrom the former to the latter atmosphere, or vice versa, would experience swelling/op
  2. I'm going to read this over and over again until I understand it! I don't know how digital hygrometers determine RH, but will the number shown be a fair representation of the actual dew point if placed indoors, or am I conflating RH and dew point... For the time being, I've bought a couple of digital hygrometers and an ultrasonic vaporiser (~6L capacity + built-in hygrometer) and left it running 24/7 aiming for a RH of 50%.
  3. Fantastic advice, exactly what I was looking for. When the situation in the UK improves, I'll embark on looking for an experienced restorer. Dwight, it's unlabelled violin that came with a 1950s receipt from Beares stating it is a BS Fendt circa 1830s. The scroll is by another maker. I've taken it to a local(ish) dealer with quite a bit of experience in British/H&S violins who was supportive of the attribution and dating. I couldn't tell you very much else, only that there were some physical clues (numbered markings/bridge) supporting it having gone through Beares and possibly Hill &a
  4. Thank you for the advice. I especially take on board the comments about the protective nature of varnish. Attached is another photo and you can clearly see where the varnish has been completely worn down. I've had this violin for about 16 years and played a lot more over the first ten years - looking back at older photos I'm relieved that I haven't added any wear to the unprotected wood. I definitely won't be attempting any retouching myself! I anticipated colour matching would be pretty difficult to do well, but never considered the matt/gloss aspect as well. Am I correct in thinking tha
  5. Hi everyone. I've been lurking for a while and have learned a fair bit doing so. Wondering what the general thoughts are about retouching varnish that has either worn away from playing +/- artifically aged. My violin has wear on the varnish in particularly where the left hand touches the body of the violin to the point where it has lost its shine. I know ultimately this is up to me whether to have it done or not, but as much as I am an owner of this fiddle, I am also a steward of this instrument and my gut feeling is to leave it alone to keep its "originality". However, I can't help but w
  6. By the way did you manage to get the Amber at some deep discount? At least in the UK it is priced just as much as a set of EP and therefore only marginally less than EP Gold/PI/name your 'premium' string set here. I thought you were looking for a cheap set . Did you get the Amber E as well? It sure has an interesting solution to whistling. What I like a lot about the PIs is the fact that they have quite a complex tone, which when I first put them on, tricked my ears into thinking it was a warm set of strings - a bit like Dominants on steroids. Actually, they are a little on the bright sid
  7. Let us know how you get on with the Amber. Im curious as well. My impression, playing on a violin that is more mellow/sweet than bright (1830s Fendt), is that as long the strings have a quick response - good/appropriate rosin and condition of bow hair helps - it doesn't matter if the strings are on the warm or bright side. Clarity is more important. I've switched from Evah Pirazzi to Peter Infeld (P100 set) after 15+ years using the former. The PI has a more complex tone to my ears. I've also used the EP Gold which was pretty good, but neither the PI or EP Gold are cheap, although I've just sc
  8. Certainly appears to be the case! It doesn't help that the charts use different terminology/axis. Most charts (see attached screenshots of Shar, Vionstringreview.com, Thomastik and Larsen) utilise a Warm->Brilliant scale on one axis, but the other axis varies. I wonder how string manufacturers test/design their strings off the violin or instrument ie. "pre-clinical" testing (I'm a physician-researcher!). Fast Fourier Transform may provide an objective means of analysis if performed on sound files recorded both on and off the instrument. Recordings can be made using a (binaural) du
  9. I suppose you would try to obtain a verbal opinion first, and if thought to be worth pursuing plonk down 4-6% (uneducated guess) for a certificate. If it was felt to be utterly characteristic of Guad, would it be reasonable to forgo the dendro, or is nowadays the done thing for instruments of this value? As a potential buyer, would it be considered good ettiquette to request for the violin to be externally authenticated?
  10. Just took my calipers out (I would guess-timate +/- 0.01mm): PI E (plat) 0.26 A 0.65 D (silver) 0.62 G 0.77 EP E (gold) 0.26 A 0.69 D 0.69 G 0.78 EP Gold E (stainless) 0.25 Unfortunately threw out the A D G recently...