When to change bass bar?


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21 minutes ago, Andreas Preuss said:

You might ponder as well if those fiddles left a shop in Cremona as a stinker. I would be rather be inclined to blame over-restoration and/or wrong adjustment to most of them. 
 

If only we could know. I mean this genuinely. Regrettably, centuries of Mantegazzas and those like them have insisted on tampering. I must say, I agree with Jacob with regards to aggressive interventions. We'll never know what we have lost. 

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4 hours ago, JacksonMaberry said:

If only we could know. I mean this genuinely. Regrettably, centuries of Mantegazzas and those like them have insisted on tampering. I must say, I agree with Jacob with regards to aggressive interventions. We'll never know what we have lost. 

There seem to be two conflicting schools of thought ...

One states that Strads are only great because they have been brought to their current point of perfection by generations of top level restoration and set-up.

The other states that if a Strad is a stinker/lemon it's down to generations of abuse by poor restorers and poor set-up.

These two speculations seem to cancel each other out - you choose one or the other depending on what you wish a Strad to be.

It seems more logical to me to assume that things are as they always were ie. great Strads always were great, some Strads less so, right from the start. We don't really know of any great makers who consistently produced the highest quality of sound - all are capable of disappointing. Same with the great bow makers ....

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1 hour ago, martin swan said:

There seem to be two conflicting schools of thought ...

One states that Strads are only great because they have been brought to their current point of perfection by generations of top level restoration and set-up.

The other states that if a Strad is a stinker/lemon it's down to generations of abuse by poor restorers and poor set-up.

These two speculations seem to cancel each other out - you choose one or the other depending on what you wish a Strad to be.

It seems more logical to me to assume that things are as they always were ie. great Strads always were great, some Strads less so, right from the start. We don't really know of any great makers who consistently produced the highest quality of sound - all are capable of disappointing. Same with the great bow makers ....

One could summarise all of that by asserting that the urge to make a “new bar” is generally an ego trip

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2 hours ago, Strad O Various Jr. said:

Even a bad Strad is still better than 99.9+% of the violins out there, just to put it in context.

If we include the millions and millions of junky factory fiddles out there that's probably true.

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2 hours ago, David Burgess said:

If we include the millions and millions of junky factory fiddles out there that's probably true.

But some of them are made with lucky wood. Is that not true for every maker also?

 

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6 hours ago, martin swan said:

These two speculations seem to cancel each other out - you choose one or the other depending on what you wish a Strad to be.

They don’t cancel each other out. Both can happen at the same time.

I would like to add that restoration has a higher risk of doing harm to the sound because it is most of the time irreversible. 
 

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6 hours ago, Mark Norfleet said:

I've never heard David claim that he has lucky wood.  :) 

How about happy wood? i've ordered some decent Chinese fast-food from Happy Wok, but have not yet had my nails done at Happy Nails next door. But I did once walk into Happy Nails by accident, when I was intending to pick up my Chinese fast-food. The women's(?) eyes were like daggers! :o

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