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In Reply to: They sound not only different but radically different. posted by morricab on April 4, 2007 at 15:07:16:
I wonder if you're not simply measuring what the modifications, sometime in the 19thC, do to the sound of each instrument.Strad's - as a group - responded best to these mods.
?
Because he was taking his violin designs in the big concert-hall direction!
Further, it is considered by the experts that these modifications effectively ruined the capacities of many of the old classic violins. Which were then lost for good.
It is a source of considerable amusment to me that modified Stradivarii are worth so MUCH more than any of the far rarer unmodified ones.
Why?
Well, in the case of just about all other sensibly valuable 17/18C antiques modifications are a BIG no no.
I for one will only be able to respect this market's behaviour / values when an ummodified and far rarer Stainer goes for much more money! I have touched the Smithsonian's example - with gloves on - for a longgg nano second!
Now, even classic 50's/60's valve amps 'in unrestored state' are highly sought after, and, necessarily, just to LOOK at! ???? ......
Especially in the asian-tiger economies, now there's a sociographic trend worth some study!
WarmestTimbo in Oz
The Skyptical Mensurer and Audio ScroungerAnd gladly would he learn and gladly teach - Chaucer. ;-)!
'Still not saluting.'
Follow Ups:
Probably because if an instrument is actually played then parts like the neck, bridge and strings wear out and need replacing so they are for sure not original or even very old.
the MODS DO change the sound, they were intended to increase vlume and projection for big concert halls, see my other post to this thread!
WarmestTimbo in Oz
The Skyptical Mensurer and Audio ScroungerAnd gladly would he learn and gladly teach - Chaucer. ;-)!
'Still not saluting.'
to which instrument they are using for each and every trial.and, IF David Aitken is right, and I'm pretty sure he is about the distinctively right and encouraging feel of instruments, we may also have to isolate the players' sense of touch, and block their ears too!?
[I'm not an instrumentalist but I was trained as a cathedral chorister under the Royal Society of Church Music's programs, sang for 9 years straight. So, I can assure that it is the same for singers, we work very hard on getting to know and feel all the structures that can affect our sound and clarity. You can eventually just KNOW - to an eighth tone's level of certainty - what notes are possible on a given day, and why you're gonne be able to pull off, and NOT.]
So that they can't KNOW that this IS the BEST one, and thus play really well on it not only becuase it IS a good instrument, but partly because they are being affected by their emotions.
har har har!
Snap! wanna play anudder round!?
WarmestTimbo in Oz
The Skyptical Mensurer and Audio ScroungerAnd gladly would he learn and gladly teach - Chaucer. ;-)!
'Still not saluting.'
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