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  2. For some reason, I get ads for a plus-sized women’s clothing brand when I’m on here. I’m male, and while I could lose 20 pounds, I’ve never cross dressed. I think the algorithms they’re using might be a bit wonky. edited to add - now I have the NRA ad. Google really doesn’t know me.
  3. In this, history seems to disagree with you. While there were some peripheral Italians making from outside these traditions, it appears that whole almost five centuries of bowed stringed instrument development in Northen Italian was unified under a broad tradition, approaching all the design using circle and line geometry and simple ratios. ( see Coates) These basic tradition of design approach give structure, but remain flexible enough to cover all the lute family explorations of N Italy up into the second half of the 18th century. Different regions and families developed their on variations on the choices made within the tradition, but remain firmly in the genersl principles. On same version of these methods covers the full range of variation in Cremona classical work. It covers stout dancr master violins, lira, violins, violas, cellos, and yes, all the molds.
  4. ctanzio


    Numerology and spiritual voodoo from our superstitious and ignorant past. For the violin, Equal Temperament and the various Just intonations are simply starting points. Great players make conscious decisions to deviate depending on things like melodic versus harmonic line, and emotional content. For those willing to take the time to look, there are many videos of well-known pedagogues and world class players discussing the practical challenges of intonation from an artistic expression point-of-view. In the end, isn't it really about what sounds good?
  5. Si, el diseño original nuca lo sabremos con completa seguridad, así lo que nos queda es copiar o crear algo propio.
  6. A couple of distractions (among many) hindering progress on the actual instruments... 1) A rotisserie. Varnishing on my next violin will be coming up soon(ish), and I wanted to take advantage of our plentiful free UV source, but didn't like the idea of getting one surface cooked, and the idea of manually rotating the instrument. It turns out I have in my stockpile of gizmos some gearmotors that are perfect for the job of spinning the instrument slowly so I don't have to. Here's the result... at an angle to keep the instrument on the skewer by gravity, but still get good sun exposure. I also have a stockpile of DC power supplies, and the 9V one works good, spinning at 2 RPM. The gearmotor is rated for 24V, but will turn with much lower voltage. Yeah, I'm still an unreformed motorhead. The violin is something I was messing with, 5 years old. 2) R&D: Plate weights and taptones are OK, but don't really do that great of a job in getting a consistent result in signature mode frequencies or amplitude balance, as the mode shapes and stresses are significantly different between the free plate and assembled instrument conditions. I was thinking that a deflection test at the bridge foot of the assembled body might do better, so I surveyed 7 of my fiddles to see. The instruments were supported at the endblocks, and a 1-kg mass was applied near the bass bridge foot, and deflection recorded. The spring rate was then compared to the B mode frequencies: While there is some significant correlation, I don't think it's useful. The range here is extremely wide, as the violins #10 and below have been regraduated to excessively thin levels as experiments in getting a "fiddle sound". It's about the same as weights and taptones... there's some correlation there, too, but also a lot of scatter. And frequencies aren't that important directly in my view... relative amplitudes are far more important. And I won't even bother plotting those results, as it's all scatter. So, another investigation without usable results, as is usually the case, but again proving that this stuff is complicated.
  7. Do the prominently visible grain running perpendicular to the flame in the ribs of this violin suggest anything about its origin?
  8. Así es. No todas las formas pueden entrar en el mismo diseño geométrico. Ni siquiera todas las formas se corresponden ni con curvas aúreas ni con círculos. En cualquier caso, un violín visto desde el exterior, tomando medidas externas, me dice poco. Pero de alguna manera, la normalización impuso el criterio único. Y el propio Stradivari asentó su standar y la fabricación en serie. Más tarde, el negocio consistió en copiar modelos.... Y en esas seguimos, y casi nadie se plantea cómo lo hicieron.
  9. Young musicians, especially those paying for an education, should be exposed to these concepts. Most are too busy just trying to playing within equal temperment In music school, a lofty goal might be to play in tune, together. Development of these skills or sensitivities is truly up to the individual. It is just another skill, use it or not. Some also who have a form of pitch-colour ( visualization ) associations ( a form of musical synesthesia ) will be more sensitive to these area. Perhaps this is a very exclusive area of sensitivity that has no meaning to a majority of the population. Sometimes the parallels are liken to those who can see the qualities and characteristics within instrument finishes. Understanding what you see is like developing how one listens or hears.
  10. I'm looking for the Primrose Viola poster. Does anybody have one they are willing to sell? Thanks! Dorian
  11. Today
  12. Joaquín! Estoy seguro de que cuando los antiguos crearon el primer violín, lo diseñaron siguiendo algún método parecido al que tu has creado y los siguientes simplemente heredaron el diseño haciéndole retoques "a ojo" para probar cosas nuevas. Por lo tanto es prácticamente imposible que todos las formas entren en un sistema de diseño geométrico.
  13. I think there is a great photo of this violin in Stradivari’s Varnish. This is the book that scientifically analyses Stead’s varnish. I don’t have the book any more but I think the violin was made on the large pattern (g?) but I noticed it had ver very dark flame. I tried in vain to copy it. Peter white see below. My version. I’m just trying, I don’t sayits good but I did make the pattern and attempt the color.
  14. Remember what I said about my Baltimore orioles site? Well I just popped over there to see what shaking in Baltimore, and right at the top of the page was that same NRA ad,, ha ha Ha ha ha. It is certainly better than ads for single Muslim women, at least.
  15. After someone on this site kindly linked us to a source of Mirecourt catalogues of the early 20th century, e.g. I began to appreciate the immense scale of the industry, the fact that even a genuine label tells you virtually nothing and that I don't have the nous to distinguish a superior French instrument from the run-of-the-mill
  16. Larry Vincent Beethoven.
  17. Me encantan sus argumentos, señora. La burla siempre fue un recurso fácil y expeditivo. Y, en la plaza pública, muy efectivo. Gracias y enhorabuena.
  18. Yeah. It's not a Maestronet thing. More of a Google thing. I'm one of the many scum of the earth that has AdBlock turned on at all times.
  19. Like! It would make you want to hammer a silver-mounted bow through an f-hole to watch it disintegrate to dust.
  20. Thanks. Very informative and helpful.
  21. In the shared thread, Jacob asks about American JB Colin instruments. My long-time standpartner played a 1907 JB Colin cello as his daily instrument, even though he had 6 glory-era Italians and a Carl Becker jr. It was a great cello, and he said it would sell for ~35k. If that’s a typical French trade instrument i am very impressed.
  22. That’s very valuable. I use DuckDuckGo for my browsing and often go incognito at random times. I have no problem at all with the NRA ads but for some reason at my Baltimore Orioles site, which is structured exactly like this one, I’m frequently getting ads for Muslim single women, which is a real head scratcher.
  24. Sounds like it to me, too. Before you give up on Maestronet (which would be a shame), it might be worth taking a quick look at something seemingly unrelated to see if it gives you a more palatable experience: The Maestronet website seems to delegate the business of advertising (other than the dealers, on the front page) entirely to Google, hence it was Google that offered you the chance to remove the advert you saw. When you load the page, it will be using its highly sophisticated "ad personalization" services to sell/place the adverts you see - this will also be true for countless other websites as well. If you are viewing Maestronet while logged-in to a google acount (gmail, etc.), then the personalization settings associated with that account will potentially be used to select the adverts you see - given that you are the "Maestronet knife guy", I can imagine there might be keywords in your email/web history that will match the audience targeted with Mr. Lapierre's surveys... If so, your web browsing experience might improve if you manually change your ad-personalzation settings - this process is described here: Alternatively, you might like to try browsing to Maestronet using a "private" or "incognito" mode in your web-browser - this should have a similar effect, without changing anything in any google account you may have. And finally, should you wish to pry the advertising dollar from Google's cold, digital hands entirely, there are browser extensions that remove all adverts of this kind for most modern browsers (certainly chromium and firefox, probably edge etc.) - I'm sure lots of Maestronet users will use these and can offer advice as to what works but I can email you a list of the extensions that I use, if it is helpful. Good luck,
  25. It might have to do with the browser configuration if you are seeing such ads. A while ago I had strange advertisements of extremistic/fundamentalistic European groups, too, or sort of "partners from Russia" etc. This junk seems to be possible at American servers only, European websites usually don't show them. After installing new browser versions with add blockers I don't see it anymore.
  26. I don't see them. That may be something on your end.
  27. Good morning Dwight, well, that's another thing we have in common! I have (or had) a pre-war Contax II with Weston light meter, a Contax 139, Rolleiflex SL35, Canon AT-1, a Minolta SRT-102, and a brand-new, unused Yashica FX-3. I always wanted a Kiev 80 (Soviet wannabe Hasselblad) but could never find one that worked! I used to have a medium format Zenobia but I sold it when I was financing my stay in Italy… Do you have the Minox spy camera, or the 35 with the fold-in lens?
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