Pal Molnar Posted December 1, 2019 Report Share Posted December 1, 2019 5 hours ago, Michael Darnton said: I am not going to wade through seven pages of what looks like nonsense to find out, but it appears that I might be the only person in this thread with any actual experience in the matter at hand. I reset a fallen adjustable post from one of the several manufacturers who was kind enough to send me a kit of the appropriate tools and a quartet of samples to try on my own. People might refer to the chinrest/tailpiece thread currently running, where the bottom line of the thread should be read as that you don't change something without some resulting change. In this case, yes, the adjustable posts I tried sounded definitely different. The instruments sounded thinner, a bit similar to a very hard spruce post that was not well fit, which is probably what you should expect from a post made of a hard material which is not fit (points to Jerry for saying that ball joints are not the same as stable, cut ends.) A friend who had also tried them suggested to me the one situation where he found them to be an advantage, so I tried several instruments with that problem, and though the specific issue was slightly improved, everything else was made worse. No one involved in the testing heard a bit of tonal advantage to the posts, though some technical aspects improved for the player--speed and response have already been mentioned. None of the testers wanted the post in their instrument, however, because of the tonal loss. Every one of these people was a player who was experienced playing a number of different instruments and was experienced in ranking them, not someone who had lived with a single one for years, and I do think that this kind of overarching experience makes a huge difference in tonal tests, which may explain some of the adjustable post "successes". Regarding the danger aspect, the samples I tried had a fine thread and a very advantaged nut. I got no sense at all of the tension of the post. I think it would be easy to slowly jack the top and back dangerously far without any sense that the pressure on the violin had moved into the danger zone but I also think that most players would not want to make the adjustments themselves. I worry about helpful stand partners though, since those characters are always a danger. Good evening from Germany and a peaceful First Advent. Those of you who don't know me - my father, Pal Molnar Sr., is the inventor of Anima Nova. I would like to state only three things at this point: 1. We have not sent any sample sound posts to Mr. Darnton, either. 2. When my father was installing Anima Nova personally, 9 out of 10 musicians, who tried Anima Nova, bought Anima Nova. A typical feedback can be read here: https://stringsmagazine.com/violist-cynthia-phelps-reflects-on-the-depth-and-warmth-of-her-gasparo-da-salo/ If you are in the mood, kindly listen to double bassist Joel Quarrington playing Bach's Cello Suite No. 6 on his Maggini here: https://www.youtube.com/watch?v=D0wPe5wccQk or search for István Várdai's CD "Dancing Cello" on Spotify. 3. As stated a couple of times before on this thread: Time will tell. Quote Link to comment Share on other sites More sharing options...
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