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ctviolin
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 Posted: Sun Jun 02, 2013 6:43 pm Post subject: |
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| Michael Darnton wrote: | | That statement wasn't a put down. It's just recognition of the fact that when an instrument is worth several million dollars, a few days or even weeks of work and trial and error trying to maximize its performance isn't a prohibitive expense, so this kind of thing happens, and better overall knowledge of what's going on falls out of it, especially since that type of instrument is very responsive to changes, and really announces if it's working or isn't. |
Believe me Michale, I didn't take any thing said as a putdown. I hope that MY answer didn't come across that way either.
In the making world, which I am actually getting back into - slowly, albeit, but actually - (thank God.)
I very often rely on my own devices for particulars. When I do, I always wonder what the modern pros would do, or say about it, or even, what the masters of old generally did.
Or, is there even a correct (or standard) answer for a lot of this stuff in the modern violin making world?
I do know that the public opinions will often be heavily tendered to one side or the other - which has never really meant much in actuality, other than - there are lots of people that have lots of heavy opinions, experienced or not.
All I can do, or even care to do, usually, is what I think - since the only place I've ever worked is in my own shop - by myself, and right or wrong for me is often arbitrary or decided only by me...
So I guess, my real question is - is it also arbitrary for makers in the real (high end) violin making, or violin sales world today, depending on what they have in their hand, to only think that a fully carved "under arch" is correct, or is there no real particular general "right" answer for questions like this?
Which - for many things, I suspect is the correct answer - that things (in particular, at the upper end) are generally expected to be a certain way, but not necessarily based on anything substantive.
??
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Last edited by ctviolin on Mon Jun 03, 2013 9:31 pm; edited 3 times in total |
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Michael Darnton
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| Posted: Sun Jun 02, 2013 8:08 pm Post subject: |
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I'm not talking about any one violin--just about how standards for the way things are done emerge.
However, generally speaking, there are some interesting stories that could be told about things "good" shops have done to good instruments.
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ctviolin
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| Posted: Mon Jun 03, 2013 9:19 am Post subject: |
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| L P Reedy wrote: | | I've asked almost the same question elsewhere about the Titian Strad violin (shown clearly in the CT scan) and the only answer I got was to "ask whoever did it." That was really helpful. I've always extended the hollow, currently starting about 10 mm from the neck because I read that somewhere, but I have no evidence whatever that it makes a difference. I'm probably wasting my time. |
you've seen it done that way - though. Interesting.
Just thinking aloud - about things that interest me.
May I suppose it was done on a replacement neck (?) or even a replacement neck/fingerboard? And that it was most likely not the original neck and fingerboard you were looking at pictures of? Or is the point that they may have been unaltered originals?
So, somewhere, at least, for some reason, someone (perhaps even the original maker) thinks that this is a "correct method".
I've got a stack of Strad magazines about two feet high - (ha ha, a yearly gift from my loving wife).
I'll state that there is most likely no solid answer in the entire pile to such a question!
I must assume that there ARE some such steadfast and particular answers to SOME questions having to do with specific construction points, that do become, or that ARE essential - to the tonal output of the individual instrument.
But that the outcome, NO MATTER WHAT particular things we choose as key components, will not be that we will make Strad-like instruments in any case, as has been proven over and over again, in the last few hundred consecutive passing years.
The point for me then becomes; exactly what points matter, and why them to the exclusion of the many other points that could be brought up for consideration? - and, how to tell what's "essential" and why - and what's not?
Ah yes - violins, you've gotta love em!
ct
(sorry, I realized my mouth runneth over, and edited some of the PURE crap out..)
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Last edited by ctviolin on Mon Jun 03, 2013 9:45 pm; edited 2 times in total |
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ctviolin
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| Posted: Mon Jun 03, 2013 12:31 pm Post subject: |
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| Michael Darnton wrote: | I'm not talking about any one violin--just about how standards for the way things are done emerge.
However, generally speaking, there are some interesting stories that could be told about things "good" shops have done to good instruments. |
Michael, you are aware that one day soon, I will expect to find material somewhere, where some of these stories are told?
Right?
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ctviolin
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| Posted: Mon Jun 03, 2013 12:34 pm Post subject: |
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Ok - I'll go now.
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L P Reedy
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| Posted: Mon Jun 03, 2013 6:04 pm Post subject: |
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| Craig, I assume the neck has been replaced and the fingerboard, probably several times. About all of the books I've seen and all the advice I've read or heard say that the hollow should be extended (to the neck, 6 mm from the neck, 10 mm, etc.) but generally without detailing the reason. Clearly, the board on the Titian at the time it was scanned was left just like the ones I buy except for thickness and probably top shape. Sure, it is a single example but a rather prominent one, so it would seem logical that there was a reason to go against what seems to be a standard procedure (except on the very cheap stuff). I'm sorry if this question seems anal, but I tend to be curious about discrepancies. Surely someone somewhere knows the answer. |
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ctviolin
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| Posted: Mon Jun 03, 2013 8:57 pm Post subject: |
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| L P Reedy wrote: |
I'm sorry if this question seems anal, but I tend to be curious about discrepancies. Surely someone somewhere knows the answer.
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anal?
Wait a minute, you work on violins, right?
No such thing, my friend. We call it "attention to detail"
ct
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Michael Darnton
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| Posted: Mon Jun 03, 2013 9:42 pm Post subject: |
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[quote="ctviolin"] | Michael Darnton wrote: | Michael, you are aware that one day soon, I will expect to find material somewhere, where some of these stories are told?
Right? |
Somewhere along the line I told Bob Bein that it would be really interesting to write a book of stories from the violin world that was a modern version of Reminiscences of a Fiddle Dealer, by David Laurie. Bob's response: "Do it after I'm dead, OK?" Which I guess means I have his permission now, at least.
If you haven't read that book, you really should pick up a copy.
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ctviolin
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| Posted: Tue Jun 04, 2013 9:19 am Post subject: |
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| Michael Darnton wrote: |
Somewhere along the line I told Bob Bein that it would be really interesting to write a book of stories from the violin world that was a modern version of Reminiscences of a Fiddle Dealer, by David Laurie. Bob's response: "Do it after I'm dead, OK?" Which I guess means I have his permission now, at least.
If you haven't read that book, you really should pick up a copy.
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Yes, of course - now I must read it.
I'm surprised that I've never seen it in any of the bookstores I go to, as I always look at whatever violin books are there.
Probably it's not with the "violin books", but is in with the biographies or historical books... (areas where I don't usually go - <g>)
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violinarius
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| Posted: Thu Jun 06, 2013 4:49 pm Post subject: |
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There are a lot of people out there who tune their fingerboards.
Is this extra wood on the Titian a case of a fingerboard not needing tuning? |
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