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Magnus Nedregard

Member Since 20 May 2006
Offline Last Active May 07 2015 03:21 AM

Posts I've Made

In Topic: Cremona violin making school question

26 April 2015 - 07:51 AM

Well, fond as I am of many english types of cheese, and indeed other types of english food, I must still conclude that italian food is pretty hard to beat! Food questions apart, I have good reason to think that Newark is a very good school, and would probably be my second choice. If your main interest is antiqued instruments I would probably go for Newark. Although antiquing has become rather normal in italy too over the last decade or so, the Italians have a continuing tradition of making "new" instruments that I find sharper and more accentuated, although it might not be to everyone's taste right now. (I know, the english have that too, but as a general tendency I would say that the most important difference in focus is this. Newark also prepares you much better for restoration. At least that was the case when I last checked, but things might have changed in Cremona there.)


In Topic: Cremona violin making school question

25 April 2015 - 01:29 AM

When I tried to choose a school back in the days, I was told that other scools were "better" and that Cremona was a disorganzed bunch of italians. That's probably right, but I still don't regret I went there nevertheless. The advantage in Cremona is the great variety of makers, teachers, instruments you get to meet there. You will have the triennale, exhibitions, and great opportunities to study both old and new italian making close up. I feel that some other schools have a narrower and perhaps less "open" approach, and certainly not this intensely violin-saturated environment that there is in Cremona. The best teachers were really good. And we still have not talked about the cheese.

In Topic: The Corner Block Corner

24 June 2014 - 02:05 AM

When I was an apprentice, I worked on my "master's" instruments, and had to bend the linings this way, because that's how he wanted them. I did this on violins, violas and cellos. Bending and gluing in linings this way is extremely easy and fast, I really liked it. I don't bend linings on my own instruments this way, despite doing it this other way so much in the past. This is for no other reason than I want to conform with the majority, but bending continuous linings work really well. The ribs were bent on an inside mould always in that workshop.

 

Ok! And of course it is a valid method. But if you glue the linings continuously on both sides of an inside mould, how do you manage to pop it off the mould? And often when I've seen violins with continuos linings, there are little triangular gaps in the transitions from block to upper and lower bout ribs, because this line isn't quite as hourglass shaped as we like to think. There's actually an angle in the inside shape on most models, unless one fills it up with a very large block shape. It is very natural to do this in a naturally hourglass shaped instrument like the guitar, but at least the classical violin models, really aren't!


In Topic: The Corner Block Corner

24 June 2014 - 01:51 AM

About this one... might be impossible.. the total sum of information in the picture is a just a little bit to sparse, not easy to tell neither how the ribs meet at the point nor what the inlet part of the lining looks like,  but I would think the maker used probably some kind of inside mould. My initial impulse is to think it looks like a block from somewhere in the Bohemian/Austrian belt, but that is already far into unqualified speculation land.

 

ca1800cornerlt.jpg


In Topic: The Corner Block Corner

23 June 2014 - 08:07 AM

Yes, I saw a Cesare Candi not long ago with ribs like that, I think he used an outside mould? It is a little akin to guitar-construction to do that.  I doubt that it is structurally superior, but it hasn't any particular problems either, as far as I know. The trouble is you have to fit the inside of the blocks and the lining together, which is sort of one extra operation, without any real purpose. At this point it could be interesting to reveal the makers of the violins in the first quiz, they are David Tecchler (Rome) G.B. Guadagnini (Milan) and Johann Christian Ficker (M√§rkneukirchen).