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Michael K.

Michael Köberling`s bench

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2 hours ago, Michael K. said:

Yes I did. Attached the workmanship points i received at the VSA :D
For tone it is a bid a lotterygame to ship it oversea in full set-up. 
 

 

Score2.JPG

I can´t read and understand this attachment. 

May be it is not only a lotterygame to ship but also to participate such a competition-soundtest at all. 

My suspicion is, that the designs mostly are bad for financial reasons ( to take Fritz, Saitis et al and requested halls/players would cause high costs ). So we don´t know, if the actually used rooms ( may be not concert-halls at all ) and (poor) test- designs can evaluate, what musicians under real life-conditions are looking for. 

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Attached is the score for the Violin. 

Two of three workmanship-judges were in the opinion it is not for the second round where the Instruments get closer look and points. Just a quick view.... Good bye.

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On November 10, 30 Heisei at 6:00 AM, Michael K. said:

When my violin does not survive the first round at VSA :D

 

Unbenanntes_Panorama1.jpg

In the first round judges are so overwhelmed with the number of instruments that they just try to kick out instruments for the smallest reason to have time in the second round to focus on what they liked at first sight or hear. Just don't take it personal. 

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6 hours ago, Michael K. said:

Attached is the score for the Violin. 

Two of three workmanship-judges were in the opinion it is not for the second round where the Instruments get closer look and points. Just a quick view.... Good bye.

I can´t understand this judgement. Do you have some high-res-pics for some closer views of this instrument ?

From your pics yet shown here I see a wonderful looking instrument with great ground/ varnish and a very highl level of antiquing. I think, muscicians will appreciate the optical appearance very much.

Could be the reason, that in VSA only a very little bit antiquing is allowed ?

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2 hours ago, Andreas Preuss said:

In the first round judges are so overwhelmed with the number of instruments that they just try to kick out instruments for the smallest reason to have time in the second round to focus on what they liked at first sight or hear. Just don't take it personal. 

There are some instruments they get into the second round with 0-1-1. But in the score-sheet you find some where exact the „0“ judge give highest points then in the second round for the same Instrument. This is quite a bid strange to me.

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1 hour ago, Danube Fiddler said:

I can´t understand this judgement. Do you have some high-res-pics for some closer views of this instrument ?

From your pics yet shown here I see a wonderful looking instrument with great ground/ varnish and a very highl level of antiquing. I think, muscicians will appreciate the optical appearance very much.

Could be the reason, that in VSA only a very little bit antiquing is allowed ?

The Winner Violins the past three VSA competitions were all strong antiqued.

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34 minutes ago, Michael K. said:

There are some instruments they get into the second round with 0-1-1. But in the score-sheet you find some where exact the „0“ judge give highest points then in the second round for the same Instrument. This is quite a bid strange to me.

??????

Maybe I am saying something funny here but maybe judges should pass a test if they are capable of judging instruments? 

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I’m wondering how the weighted scores work ? There are 100 possible points but each judge gives a score of 1-10 and the weighted score is much higher than its total .I used to know how it worked ....

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1 hour ago, Andreas Preuss said:

??????

Maybe I am saying something funny here but maybe judges should pass a test if they are capable of judging instruments? 

I think they are fine. 

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Yes, very nice!  I've certainly found your nice photos of you work as inspirational...I very much like your style and varnishing and antiquing work.

I am stunned that this instrument got "0" from Feng Jiang and Primo Pistoni (I think I'm reading the pdf correctly from the VSA site)  If I read the same PDF correctly, there were 188 violins that got looked at in the first round...I can't imagine how daunting that must feel for the judges (it's all done on one day isn't it?)

I think I'm counting 85 violins that got thoroughly evaluated...which still sounds like a ton of evaluating....but maybe there should be a lower limit of entries per category, and get rid of the 1st round altogether.

I'm not too familiar with competitions...but did you literally no feedback on your violin at all?

 

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4 hours ago, Michael K. said:

There are some instruments they get into the second round with 0-1-1. But in the score-sheet you find some where exact the „0“ judge give highest points then in the second round for the same Instrument. This is quite a bid strange to me.

I was confused by this at first...but now I get what you're saying.  And there's lots of them like that...the person who gave a "0" in round one gives more points than the "1" judges, for the second round.

That's really odd...a violin that got "0 0 0" in round 1 could still get a fine score in round 2, with that logic.  Certainly seems a bit off.

 

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5 hours ago, Michael K. said:

Here are some during the making.

 

45932489_2500572306626322_4525317825287421952_n.jpg

45956986_2500572259959660_466474357909094400_n.jpg

46018349_2500571969959689_9002201798299090944_n.jpg

46110092_2500572413292978_5913243091174686720_n.jpg

46161682_2500572376626315_7130340104492548096_n.jpg

46110075_2500572053293014_8459267260060532736_n.jpg

46047373_2500572113293008_6562713507211509760_n.jpg

46204154_2500572189959667_7589241619015008256_n.jpg

Thanks for more pics. They show great work, particularly ground and varnish. If I would be forced to critizise anything, it would be the corner-inside, where some years are dented a little bit and a little bit too rounded edgework. Naturally this can also be a thing of use and artificial aging/ antiquing. However this is only one little detail in a very fine instrument. I still don´t understand the judges decisions. 

I think, one should forget this competition : too few judges / no convincing consistency of judgements / therefore it is to assume, that soundtest-designs are even worse .......

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Michael, of everyone here on this forum your work has always been the most inspirational to me. There are many others like Christian, Melvin, Neil and Conor to name only a few,...but it's your level of work I aspire but will never reach. What more can one say....it is, what it is.

 

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50 minutes ago, lpr5184 said:

Michael, of everyone here on this forum your work has always been the most inspirational to me. There are many others like Christian, Melvin, Neil and Conor to name only a few,...but it's your level of work I aspire but will never reach. What more can one say....it is, what it is.

 

Thank you for your nice words. So I will posting allways from my work.

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I overheard Sam Zygmuntowicz mentioning that he was looking for violins with antiquing that really convinced him. 

While he wasn't a judge, I tried to get some insight from that. 

Perhaps a violin only has a split second to grab someone's attention on first glance, even for the judges. 

Your work is superb, and I can only hope of getting that good. 

But perhaps the judges were looking to be "stricken" by a particular fiddle in some way or another, and then they more closely evaluated pieces that grabbed their attention with some kind of first impression. 

I could be talking out of my arse, but that's how I went about looking at and trying out instruments in the judging room. 

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