jezzupe Posted February 20, 2011 Report Share Posted February 20, 2011 Jezzupe nicely put. I am well aware of the blind test with Stern and Zukerman and others like it. I want to make something clear. I am not dogmatic about the ubiquitous nature of Strads and Guarneris. I have played some violins that are quite new that I would put in the outstanding sound category (Curtain, Zygmontowicz, Bellini, Becker and others). I have played a few Strads that were what I would call dogs. But the absolute best were Guarneris, Strads, and one Storioni that had the best E string I have ever played. As you say probably because they were played for a long time by good to great players. I would say that each time that I have had the opportunity to play on the expensive antique instruments part of me is excited—for obvious reasons and because of my making/repairing background I almost wanted them to be ho hum. Additionally I knew that I was playing on instruments that I would never be able to own. I actually for a while quite going to shops or asking players if I could try their fiddles. Perhaps to bring this topic full circle the image below might shed some light on my original question. As I understand it Curtin uses low density Engelmann (correct me if I am wrong). I have quite a bit of his old spruce. Like I said before, I asked him why he was selling this wood as most of it does not have glaring defects. He said because we (I guess he was still working with Greg Alf) found something lighter. I have tried his instruments and for the most part liked what I tried. BTW thanks for warning me about my hands. Years ago I was working on a bass bridge. I was really going at trimming it. All of a sudden it let go and I drove a big splinter in between my fingernail and skin of my thumb. It came out ok after they cut off half of my fingernail and removed the splinter… a tad uncomfortable as you can imagine. Well, all I can say about that is, nice! If you don't want it, send it to me I'm sure its more than suitable. again much of this is about balance of different parts doing different things. To put all the eggs in one basket related to one part being paramount over the other may be misleading. I feel that LD wood is very important, but I also feel what type of back/rib material you pair it with is important. I also feel like Melvin, that it is important, and then again its not. To me the wood choice for a NEW instrument is very important. How all these factors interact is quite unknown. But I think you could be quite confident that if you have those guys "old wood" that they were using for who knows how many great instruments before they found something they felt was better, that it is quite good. They do, after all have an established reputation, as I hear that has something to do with it. Quote Link to comment Share on other sites More sharing options...
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