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David Beard

Copyist, Innovator, Reconstructionist

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.......and that young people think its "cool" .......I don't do evil, sorry

I believe that I have a modest problem with your argument because nearly everything that is "popular" and which "young people" consider "cool" seems designed to give mothers hysterics and is more often than not, cynically contrived by greedy adults to wring a profit from our children by corrupting them.

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Well maybe you're just allergic to money.  If you start with tiny doses and gradually build up the exposure you might eventually develop a tolerance for it.

 

I was looking at your nifty website.  How do you generate the cornerless outline shapes of your violins?

Well it's not so much an allergy, than it is there is money, and then there is the monetary system we are using and usury based "money" we are using, they are two different things, one is a means of exchange collectively agreed on and created at cost by the citizenry to be used as a device in a free market with apportioned taxation used to pay for the services we need and use, including the creation of he currency supply....and then, there is what we have, a private for profit usury credit scam where our currency supply has been subversively turned into a product that certain someones are creating out of thin air, then "loaning" this "money" to our "government", supposedly our "leaders", to which you will now at this point pay 45% of your earnings in order to use this "money".

 

The "success" of the CORPORATION of the united states OF America is based on a false reality, an example, If I as an individual am skilled and wish to open my own violin shop, I will need all kinds of start up money to make that happen, if I make min. wage, chances are, I'll never really get the shop together based on the cost...BUT, if some guy came along and offered me a credit line of 10 million dollars, well then shoot, skies the limit, and if I put my mind to it, I could probably make it work. America and the western world is a direct metaphor of this story, this is a place that has done well because it perceives living off of a "credit card" ie your monetary system as being a "rich" country, this place has become what it is based on false reality, the day that the monetary system has been changed over to a nationalized system that serves the will of the people will be the day I'll like money....

 

That being said. Carlo, yes, is paying me some money for this, but the bottom line is I would have built it for him even if not, Carlo to me is one of the coolest guys I've ever known, the only person who believes in me that matters to me, the real payment for me has been and always will be his friendship. This entire project has been so over my head so many times, so many melt downs, like today for example, haaaa,ha, and still he remain calm and cool, and I'm sorry but you just can't put a price on ice in the dessert.

 

My round shapes are made with "standard" inside molds whereas instead of cutting corners into the blocks, they are simply cut to continuing outline of the mold. This allows for a one piece rib structure, which I will not claim has tonal benefit {it might} but it does have advantages structurally as well as simplicity during construction, and well  just don't like corners....never banged your knee on the corner of a round table, did cha' :lol:

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I believe that I have a modest problem with your argument because nearly everything that is "popular" and which "young people" consider "cool" seems designed to give mothers hysterics and is more often than not, cynically contrived by greedy adults to wring a profit from our children by corrupting them.

There have been times, few as they may be, where music, art and the power of love have been cool, where the hand of corporate fascism did not seek profit out every pore, because it was not in charge. I guess I'm just a dreamer a hoper and a wisher, I know it's not very realistic, but when reality is false, what does it matter I suppose

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Jezzupe, where do you get long enough maple or whatever exotic wood strips for the rib?

Hey D, glad your honey fiddle turned out well, um gosh any and everywhere, you really don't need anything super long, I just use a table saw to rip things down to a useable state, usualy about 4 ' or so, guitar and cellos can be more interesting with the one piece rib, in tha they can be up to 6-7' long, which get pretty hard to handle while bending on the iron....I use lots of "regular" wood that is available at lumber store/yards as well a lots of wood flooring and "trim" as well as demo or salvage stuff

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Thanks Jezzupe, nice of you.

 

Back to the thread....

 

I wonder about the copyist - how much the lack of recorded music at the time of Strad changes him - for example I could do an album where I try to copy a certain John Bonham - Led Zeppelin drum sound:

 

Let's say I would use the same mics model - the same console model - the same compressors - set up in a castle, use the stairway for ambience and anything I could find out how it was done - Get a ludwig set, same type of heads, have the drummer play as close as possible, same type of drumstick, etc.. constant A/B with the original....than I would really be copying.....

 

Now since we do not have recordings of Strads at the time, mostly modified versions with modern strings....modern setup played by a guy with lots of vibrato in a modern way with a modern bow.....

 

Would it all be very different if we had good recordings of Strads at their time?

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Thanks Jezzupe, nice of you.

 

Back to the thread....

 

I wonder about the copyist - how much the lack of recorded music at the time of Strad changes him - for example I could do an album where I try to copy a certain John Bonham - Led Zeppelin drum sound:

 

Let's say I would use the same mics model - the same console model - the same compressors - set up in a castle, use the stairway for ambience and anything I could find out how it was done - Get a ludwig set, same type of heads, have the drummer play as close as possible, same type of drumstick, etc......that I would really be copying... 

 

Now since we do not have recordings of Strads at the time, mostly modified versions with modern strings....modern setup played by a guy with lots of vibrato in a modern way with a modern bow.....

 

Would it all be very different if we had good recordings of Strads at their time?

 

Are there no baroque specialists playing on Strads?

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Personally I feel that string tech and materials are more responsible for changing the sound of the violin more than the violin itself. If all "classical music" as we know was still played on gut strings, and or steel strings never got invented, I am quite sure that lots of the pieces we know would wither not have got written and or would certainly have a different "feel". Based on my experience I can change the "core" sound of a violin WAY quicker by simply changing strings and knocking the post a bit than I can "guessing" at removing material from the instrument.

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https://www.youtube.com/watch?v=ABm7nMVyNh4

 

this is a great example of core tone differences between the past and now....obviously the recording devices are crude....but you can hear the sound...I have always loved this tune and had never head this before, it was so great to hear to original by the composer...to me even through all the popping and hissing the technical mastery shines through as does the more gentle tone

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https://www.youtube.com/watch?v=ABm7nMVyNh4

 

this is a great example of core tone differences between the past and now....obviously the recording devices are crude....but you can hear the sound...I have always loved this tune and had never head this before, it was so great to hear to original by the composer...to me even through all the popping and hissing the technical mastery shines through as does the more gentle tone

 

Sounds so much more gypsy than many of the modern performances.

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Thanks Jezzupe, nice of you.

 

Back to the thread....

 

I wonder about the copyist - how much the lack of recorded music at the time of Strad changes him - for example I could do an album where I try to copy a certain John Bonham - Led Zeppelin drum sound:

 

Let's say I would use the same mics model - the same console model - the same compressors - set up in a castle, use the stairway for ambience and anything I could find out how it was done - Get a ludwig set, same type of heads, have the drummer play as close as possible, same type of drumstick, etc.. constant A/B with the original....than I would really be copying.....

 

Now since we do not have recordings of Strads at the time, mostly modified versions with modern strings....modern setup played by a guy with lots of vibrato in a modern way with a modern bow.....

 

Would it all be very different if we had good recordings of Strads at their time?

 

 

This sort of gets at the point that fascinates me.  You're describing copying that recorded drum sound from the inside out — duplicating the process that created it in the first place.  And you're describing using the recording, the evidence, more as a guide and target to help correct your process of duplicating the original creation process.

 

To my mind, this is the reconstructionist approach.  

 

Many copyist seem more to work more by observing or measuring some aspects of the evidence (recording in this case), and then using any process they fancy to create something that replicates those observed aspects they focused on.   But so often, this kind of approach, which is so very different that what you described, yields results that perhaps replicate some aspects of the model, but overall present a completely different character.

 

As this thread as made clear, there is no sharp line between categories.  But it does seem that much modern work could stand to incorporate more of this recreation of process. 

 

After all, we aren't making digital information, we are making physical objects.  Informationally, something like a 'letter A' is very simple.  It's encoding is finite.   In the current age we tend to assume this view too often. Many people equate the image of a picture with the physical object of a painting, but the physical object is vastly richer and more complex than the extracted image. 

 

Similarly, when you take ink to paper to draw a 'letter A', the resulting physical object is so very very complex, multi-dimensional, and infinite in the amount of information embedded in its creation.  

 

All this turned to violin making is multiplied many fold.  Process and product are not truly separable when we create something as complex and richly physical as a violin.

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