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Found 14 results

  1. I’ve been looking at making scrapers based on those in the collection at the Violin Museum in Cremona (MS 691 up to MS 697). To work out their outlines, I’m using the pictures and measurements provided by the catalogue of their collection . (https://museodelviolino.org/en/nuovo-libro-antonio-stradivari-disegni-modelli-forme/). During the process a few questions came up and I’m wondering if participants of this forum would have answers? 1)While resizing the outlines to the measurements provided by the book, most of them worked pretty accurately besides the MS693 which seems slightly narrower when proportionally adjusted to length and most importantly the MS696 which is about 6mm longer when proportionally adjusted to the width measurements. As the book gives the exact same measures for the MS696 and the MS697, the latter fitting within the measurements provided. I’m wondering if it could be a mistake during the data recording/entry? Or a photo distortion that could have happened during the editing? Something else? (please ref to snapshot provided, the frame representing the size provided in the book). 2) Has anyone had a chance to look at them out of their display box? And if so, have measurements of the MS696? 3) Is there any record of their thickness available? 4) Are there bevels on one side only or on both sides for each of them? Thank you for your insight,
  2. My daughter's violin had the wolf on B note of G string and I went to the best Luther in my city. He told me most of the Italian violin got wolf tones and It's hard to make it disappears. He told me it needed to open the violin and take very long time to fix it and he is not 100% sure if he can make it disappear. I read an article about René A. Morel fixed Sarah Chang's Del Gesu wolf tone. but sadly he passed away on 2011. I wondering if it worthy to give a try? any thoughts? thanks a lot!
  3. I have a couple of questions about the violin making schools in Cremona Italy. What is the approximate tuition cost to attend each year? How hard is it to get accepted? I am planning to retire soon and would like to go to Italy and learn violin making and restoration. Thank you for your help. T
  4. I took this old violin on trade and it only had 1 peg, no tailpiece, chinrest, nut, strings or bridge. The top had 5 cracks. I took the top off in 3 pieces and inside the violin the were markings in pencil as follows: AMATI. Logo kinda shaped like a football with the laces showing and another oblong circle around that. CREMONA 16. ARAD and there was also part of a paper tag with the logo and Michael Treschler ARAD on it.
  5. Has anyone heard how Cremona and other violin makers and dealers in Italy have been affected? With a death count over 10K, and the number of infections skyrocketing, it looks like Italy, and perhaps its luthier industry, will take a hammering. Though USA leads in number of cases, Italy's population is 1/6 the size of the US, and has 1/3 of the worlds's deaths (IIRC). Like I imagine most of you, I am very concerned. Haven't heard any news about this aspect. @Davide Sora, what say you? Also, Manu Dibango, a great African jazz artist died from Covid-19, and John Prine is not doing well... :-(
  6. Lot 202 on the Tarisio June sale is the Ruger that was exposed at the "treasure trove" in Cremona, and was on "extended loan" to the town since 2008. https://tarisio.com/auctions/auction/lot/?csid=2198978560&cpid=3395305472&filter_key= It is sad to think that this beauty will leave its cradle, and remain concealed from now on. By the way, the back of this violin has always intrigued me, being in four parts of uneven but utterly handsome curl. I would say temptatively : "pearwood". (on other pics the back appears of a much more reddish hue) This denomination covers a broad range of tree species, from the true pears(Pyrus spp.), up to the service trees (Sorbus spp.) etc. I also heard that the cremonese makers used the mediterranean hawthorn (Crataegus azarolus). In this specific case, could it be Azarolus ? another clue might be the uneven grain, hesitating between tangential and radial plane, as could be expected from a ridged, gnarled trunk.. Any thoughts about that ?
  7. There have been many blind tests in which Strads or del Gesus did not better modern violins. Fritz et al. published theirs in a series of three papers in Proceedings of the National Academy of Sciences, USA. Many take them as scientific proof that Strads do not possess superlative tonal qualities. I am delighted to see that some blind tests do show favorable results for Strads and del Gesus: (1) One organized by Strad Magazine https://www.thestrad.com/stradivarius-violin-tops-the-strads-blind-test-of-old-and-modern-instruments/5129.article (2) One conducted at the Joachim competition YouTube video below (go to 48:00) There are two major problems with blind tests, such as the ones mentioned above and those by Fritz et al. First, working memory for timbre only lasts from a few seconds to tens of seconds in humans, shorter than the time interval required for the player to switch instruments and play the same passage. The timbre memory of the previous instrument may have already decayed when the next violin is being played. Secondly, Fritz and coworkers did not measure or report the loudness of individual instruments, meaning that subjective evaluations about timbre and preference could have been confounded by differences in loudness. Even if loudness were measured, there would have been no simple method to normalize for inter-instrument differences during live listening tests. Louder violin tones usually sound fuller and more preferable in side-by-side comparisons. Hence, without loudness equalization, it would be difficult to properly assess timbre. Scientifically, timbre is defined as the character or quality of a musical sound distinct from its loudness, pitch, duration, and spaciousness. What kind of blind listening test is sufficient for differentiating violin timbre remains unclear. Do we need to pre-screen the listeners for those with string auditory working memory? How about pre-screening the Strads involved and only admit the truly great ones?
  8. Client provided an unusual asset that needs verifying. Pictures provided have been taken by the client, though clearer, more precise images will be made available once in our custody. Open to comments please, as the asset has been held by the current owner for many years. Limited details until package is received the next few days.
  9. Welcome Since I've heard this violin I've got it always on my mind. It sounds magnificently. You can hear it for example here in duo concertante with 1727 Vesuvius Strad: https://youtu.be/4UWkoYI8C4E Pitty there are only some photos available but no table and back maps/measurements, just LOB and bouts. Maybe some of you would be so gentle to give me a hint where to find them. I can pay for it. I know there is a poster avaiable at cremonaviolins.org and some data at Tarisio and: http://www.archiviodellaliuteriacremonese.it/strumenti/violino_51.aspx?f=457944 That's all I know. Thank you.
  10. Here's a nytimes.com article on Cremona. Sounds like a pleasant place to visit whether you're into violins or not. The places of interest listed at the end of the article would be of special interest to violin enthusiasts. I wonder what kind of demonstrations are offered by makers. I suppose you can watch them work on their instruments.
  11. I got a link to this video in my in-box from Dimitri Musafia this morning. He has always been very kind to me and has sent me updates and new parts to try from Cremona. There are some very nice views of Cremona in the sunshine and shows how things go together with his cases. There are lots of other cases and other very good hand made cases, but I do love Musafia cases and they are worth their price. He is making one for the big viola Mike Jones is building for me. I don't work for him or have any financial interest in his company, just a customer. DLB
  12. I'm having a hard time figuring out the origin of this instrument. It seems to have a lot of French attributes. It is 24" long, French boxwood pegs with MOP inlay, the saddle could be from anywhere I suppose, and the scroll looks to be French. The top and back both are one piece, which is another clue I think. Also the ribbing seems to be more present than normal German violins from the 19th century (if it is from that period) My confusion is in the varnish. There is no label. If you can identify a maker, Chanot, Schweitzer, even Peter Wamsley maybe (here's hoping), that'd be great. Any help is appreciated. Thank you! [/url]">http:// [/url]">http:// [/url]">http://http://s1045.photobucket.com/user/Maestrojobo1/media/2015-06-29%2020.17.52_zpspzc4f06s.jpg.html'>
  13. I have some names and numbers already (and I know this question has already been asked here on occasion): where should I go to see and play some fabulous violins and violas. Thanks. Ciao.
  14. I have spent several years trying to teach myself how to make violins and now I think it is time to observe and hopefully assist a professional. I will be graduating from college in May and cant think of a better time than this summer and this coming fall to follow my passion for the structure of the violin. I don't plan on making a living with violins, I plan on using violin making as a way to channel my creativity. My hope would be to work or volunteer in a violin shop in Cremona for several months doing odd jobs or even sweeping the floors perhaps in exchange for room and board. I live in California currently, speak English, and am trying to learn Italian. Does anyone know who I might contact to accomplish this goal? Here are a couple photos of whats currently on my workbench, all while I finish up my degree... Cheers, Jonathan
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