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Melvin Goldsmith

Melvin Goldsmith bench

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On April 6, 31 Heisei at 9:44 AM, Melvin Goldsmith said:

Thanks for your kind comment Thomas. Here's the back.

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I wished I had this piece of wooden which would be a pretty perfect match for the Plowden DG.

 

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I like the gentle antiquing- too many scratches make me shudder. An old instrument needs to look loved, not abused, and you convey this treatment well in your work. 

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The latest...a kind of portrait of  Guarneri via memories of some beautiful instruments I have been lucky to experience. Most of the idiosyncrasies like the head are deliberate but of course some are unconscious ! The back of this violin is 8mm thick . 

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8 mm back thickness! I'm always interested in borderline solutions and this one is a record, I think,  keeping it that way and resisting the temptation to come back to conventional graduations... Now I'm curious to know more about sound. More projection this way? And what about quality?

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19 hours ago, Alessandro Peiretti said:

8 mm back thickness! I'm always interested in borderline solutions and this one is a record, I think,  keeping it that way and resisting the temptation to come back to conventional graduations... Now I'm curious to know more about sound. More projection this way? And what about quality?

The sound and projection are  very good in the opinion of my customer and myself and we have both decent hands on experience of great del Gesu violins.  These days I don't gradate a violin until the varnish is fully cured ( I leave everything over 1mm thicker than required)  and I will take a violin apart a few times and regradate if needed. This allows me to experiment and take risks. I am not trying to make the perfect violin straight away...I make a violin to the best of my abilities and then I act like a restorer and set up guy to improve it from there. I have no interest in how a new instrument sounds until it has been strung up and played or mechanically stimulated  for  at least 3 months or so and all the tensions settle in and the wood moves and longer posts are needed and neck angles re set etc. Heavily wooded instruments need time to settle in

 

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3 hours ago, Melvin Goldsmith said:

The sound and projection are  very good in the opinion of my customer and myself and we have both decent hands on experience of great del Gesu violins.  These days I don't gradate a violin until the varnish is fully cured ( I leave everything over 1mm thicker than required)  and I will take a violin apart a few times and regradate if needed. This allows me to experiment and take risks. I am not trying to make the perfect violin straight away...I make a violin to the best of my abilities and then I act like a restorer and set up guy to improve it from there. I have no interest in how a new instrument sounds until it has been strung up and played or mechanically stimulated  for  at least 3 months or so and all the tensions settle in and the wood moves and longer posts are needed and neck angles re set etc. Heavily wooded instruments need time to settle in

 

Thanks for the explaination of your method, Melvin. A thick back centre brings my imagination to archery having steady centre, the bow can flex only in the ends. On violin, a stiff back centre shifts bending mainly on the scooping.
In any case, I am aware of the fact that this image, like that of the loudspeaker behavior is a bland approximation...

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