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Ebay Spiritus Sursano

martin swan

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Typo. Should read “Spurious Sursano.” :rolleyes:

What tipped you off? The nasty polished over chippy varnish, that oh, so lovely “Stradivarious" scroll, or maybe the quality of the bottom rib repair? :unsure:

Are the G, D, & A strings all the same? :blink:

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I don't know I just can't put my finger on it .... there was just something about it that didn't ring true. You know how it is with an old Italian, sometimes it's impossible to point to one detail, it just doesn't "feel right".


I think the scroll is what's known as Stradivarimouse - the maker lays a trail of cheese around the sketched out volute, and leaves it in the garden shed for a few weeks. Apparently this was one of Stradivarius' many secrets which contributed to the undeniably superior tone of his instruments. I find it bizarre that modern makers haven't researched all this more. They seem to be obsessed with totally irrelevant details like choice of wood and thicknessing.

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Gotta love a lead violinist and member of a quartet ( presumably "string", not "barbershop" ) who treasures his 18th century Italian violin so much that he condemns it to live in such an inspiring container ( can't bring myself to call it a "violin case" ).

WAIT !!!! he's got to be a pro !!! LOOK >>>> 2 bows !!!! :lol:

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Some hidden camera views from the Stradivarimouse workshop:

Yup that's the stuff .....

The challenging design of the right f-hole is to do with the amplitude of the B1+ frequency, if I recall Anders' post. He did some similar experiments with the f-hole edges ......

The second picture explains the phenomenon of high frequency damping, which a few maestronetters refer to in the context of Stradivari and other early Cremonese rodent-assisted makers - I recall Carl Stross talking about this in particular. Perhaps he didn't have access to this image archive?

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