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nathan slobodkin

Loosening soundposts

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1 hour ago, Michael Darnton said:

These guys are all acholytes of a guy who by their own account blamed the instruments when he broke them with a too-tight post. They don't  know "humility".

Ouch! I tried to minorly go to bat for you. Please don't put my efforts to total waste.

If you are willing to invest 4 hours of drive time between Chicago and Ann Arbor, I'll drive the rest of the way. The various Oberlin Workshop are a pretty eye-opening experience. I generally make the five-hour round trip between Ann Arbor and Oberlin Ohio twice per year.

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Michael,

You are correct that for the most part we have been discussing the mechanical aspects of this issue but obviously there are tonal and player experience issues involved. For the most part however I find sound post adjustments both in placement and tension occur within a pretty small envelope. If the desired tonal options can not be reached with the post fairly close to the conventional place and with the tension that I think feels right for that instrument then I would change the length of the post and try the placement options again. If that didn't give me what I wanted I would tend to look at other set up issues and revisit the post issue later.

As far as who I learned sound post adjustment from I certainly did pay attention to Rene since some of the greatest artists of the 20th century traveled long distances to have their instruments adjusted by him but my basic feel for how tight a post should be was formed in Chicago from contact with my teachers at W.H. Lee, Carl Becker and many others including you and the other guys at Bein and Fushi.

I also do take some umbrage at disparaging of Rene Morel from a distance of time and place. While he was not the last word on anything he was a pioneer in many of the techniques used by restorers today and did some amazing work most of which we haven't seen because the point was to make it invisible. Every expert has their failures and other experts are usually the one's to whom they are brought for remedy afterwards. We saw some instruments at Francais that the owners said had been bungled by Bein and Fushi  but I don't assume that those were representative of their work as a whole. I also think that Rene was often brought instruments that no one else could get to sound right and since some may people may have traveled from Europe or Asia to have their instrument adjusted he must have felt he really had to give it a go even if he was concerned about the over all health of the instrument.

Lastly I have noticed an increasing number of negative comments here on Maestronet which are not helping the tenor of these discussions. The whole point of discussing professional issues is to hear opposing view points so I hope the people involved in these personal feuds will just cut it out!

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