Gunga......Gunga.....Gu-Lunga
I would have been really excited if they had used "X-ray technology" to make an exact copy of a Strad-O-Lin! These days anybody can make an exact copy of a Stradivarius.
When 'good enough' is more than adequate.
The same technology has been used on a number of outstanding Loars by one very big name builder that I know.
j.
www.condino.com
I heard this fascinating story on NPR this afternoon. Pretty cool use of high tech to reproduce something decidedly low tech.
For wooden musical fun that doesn't involve strumming, check out:
www.busmanwhistles.com
Handcrafted pennywhistles in exotic hardwoods.
I was told that Gibson did that with a Loar to get dimensions for the Master Models....Like I said I heard it, just cossip?, I don`t know....The fellow that told me is no longer with us....
Willie
Yeah but how did they recreate the secret recipe varnish that Strad used?
My friend Sam (mentioned in the above article) has done quite a bit of scientific study of violins.
Jim
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Playing lately:
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What, this thread's about fiddles? I came to read about Stradolins!
Elrod
Gibson A2 1920(?)
Breedlove Cascade
Washburn 215(?) 1906-07(?)
Victoria, B&J, New York(stolen 10/18/2011)
Eastwood Airline Mandola
guitars:
Guild D-25NT
Vega 200 archtop, 1957?
I saw a report some time ago about a scientist(I forget what field) who built about 30 violins. His goal was(as I'm sure it is for every luthier building violins) to recreate the sound of a Strad. He came up with a certain mix of chemicals with which he treated the wood, and a few people tried them out. In the end, many players who had experience with Strads said there was no difference in quality or sound between his violins and Stradivari's.
Also, an old luthier from my home town, Elmer Edwards, told me he could never recreate a Loar, even after building 150 F-5s, because wood of the same quality just isn't available. The guy I mentioned above believed that the wood Stradivari used was from old growth Czech forests which have been cleared since the 1700s, and that you could never duplicate that quality without using modern chemical treatments on the wood.
Sam's a friend of yours? Cool! One of THE very best builders today, for those who don't know. Wish he was in our price range, the wife is getting itchy for a new fiddle. There's an excellent book about Sam and violin building in general, called The Violin Maker, by James Marchese. If you're addicted to the Strad magazine, then you've read some of his articles.
This should be on everyone's Christmas list. It's an easy read, and will open a lot of eyes into the exclusive world of upper-tier luthierie. Sure, it's about violins, but the information and "zen factor" crosses over to all high-end instruments.
Wood treatment, ground, and time are rather difficult to duplicate.
It's really quite a dance to work with the individual piece of wood, anyway.
Stephen Perry
I'm actually about a week away from starting my adventures in luthierie, and my previous experience with wood backs that up. I guess that's why he's a scientist though! extensive research + trial and error = Strad quality wood?
A key problem is determining what "Strad quality wood" means. One can come up with any number of scenarios to build an altered piece of wood. Keeping in mind that once dried I'm given to understand that getting stuff into spruce is difficult.
Wood floated down to Venice, boiled in a mixture of various salts for anti-fungal effects, sold to the market, including violinmakers.
That's credible, but I have no idea how to test it. Note that I am not promoting this as giving the extra 5% (there is no single "secret"), but it's an example of one thing to test.
From a modern perspective, one could impregnate green wood, dry it, then bake it, then cryogenically treat it. Probably then sell it for lots more than one should, promoting its magic.
Research, then development and testing of hypotheses would be science, rather than trial and error. Related, perhaps.
Stephen Perry
I sure appreciate you over analysis of my semantics... I chose trial and error over hypothesis and experimentation for the sake of simplicity. Regardless, I think the guy was pretty credible considering he spent 20 years researching his method and all of the real Strad musicians praised him for duplicating the Strad sound. I'll try to find the background information.
This guy:
http://www.youtube.com/watch?v=b6-ro...eature=related
In the time it took me to find that I found quite a few interesting articles and videos discussing the unique sound of the Stradivari violins. A bit of an additional learning experience. Check it out and let me know what you think.
Nagyvary has a knack for promoting himself. His emphasis on materials is well taken; dimensional aspects we can copy.
I haven't found any highly cognizant workers and players who find the instruments he has made for him to be equal to good Stradivari instruments. Most listeners really can't tell.
Note that all I can respond to is what I read.
Stephen Perry
I was also a bit confused. I had mixed up a few Strad copy stories. There have been some blind tests done comparing his instruments to Strads, but they were not scientific. The best point made in that video is that the instrument has an exceptional sound, but will likely never be played for anywhere near as many hours as the 300 year old instruments.
Elrod
Gibson A2 1920(?)
Breedlove Cascade
Washburn 215(?) 1906-07(?)
Victoria, B&J, New York(stolen 10/18/2011)
Eastwood Airline Mandola
guitars:
Guild D-25NT
Vega 200 archtop, 1957?
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