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Magnus Nedregard

Member Since 20 May 2006
Offline Last Active Apr 10 2014 08:18 AM

Posts I've Made

In Topic: new vs old research Claudia Fritz, Curtin, Fan Tao et. al.

08 April 2014 - 09:55 AM

Sorry. I responded at 4:30 in the morning (my time), and I'd only had about four cups of coffee at that point... not nearly enough to be even semi-awake yet. :lol:


Well, my post was probably asking to be misunderstood no matter caffein levels amongst readers.... 


Carl Stross; I think the question really is whether the new instruments are looked upon with an unfair psychological disadvantage or not. Really, there can be little doubt that that is true, don't you agree? I have often the chance to play both prestigious italian instruments as well as good new ones. And I have noticed that by doing a small psychological trick of self-hypnosis I am able to find the same qualities in the best new ones as in the old ones. You just have to respect it, and really love it, before even playing it, and you will even start to overlook small imperfections that are usually enough to condemn any new instrument, as long as you are in your normal mental modus. 


This is a beautiful mechanism in many ways, but it also have some negative consequences. One is that it creates the false impression that the old instruments are "unbeatable" out of some hidden technical reason, whilst the reason is really much more complex than that.  Also, some people go on playing on "prestigious instruments" that are seriously out of adjustment for a long time, because they are so afraid to blame the instrument, so full of respect for the instrument that they tend to blame problems on themselves rather than the fiddle, even if it is seriously out of shape.

In Topic: new vs old research Claudia Fritz, Curtin, Fan Tao et. al.

08 April 2014 - 08:40 AM

It may be relevant to makers who are chasing superior tonal and playing attributes. I've always thought it was helpful to be able to separate these from the psychological factors, because it's likely that each of these would be best addressed in different ways.


I believe this whole series of tests started with this... questions like,

"If we're going to try to model tonal and playing characteristics after Strads etc., wouldn't it be prudent at some point to check whether they are actually "better" or preferred, under conditions which try to separate these from their investment, promotional, and psychological advantages?"


Here's a link to the abstract of this latest study:



Of course! My post was meant ironically goddammit      <---- here I meant to insert an "emoticon" that expressed my feelings being taken literally but I could not fin one that was adequate. (Despite that I spent a good deal of time searching). 

In Topic: new vs old research Claudia Fritz, Curtin, Fan Tao et. al.

08 April 2014 - 02:10 AM

There is, of course a major difference between playing a modern instrument that your brain thinks might be a Strad, and playing a modern that you know for sure is just that. This kind of advantage is not possible to give modern instruments in real life, so the test is unfortunately not relevant. One has to take real life prejudices in to the account. 

In Topic: Stradivari's Secret

03 April 2014 - 02:01 AM

Jeg hadde ingen aning om at Maestronet i realiteten er svensk, eller i alle fall overvĂ„ket av den svenske sikkerhetsjenesten!  :D

In Topic: Stradivari's Secret

03 April 2014 - 02:00 AM


......chi va dietro altrui mai non gli passa innanzi.....(Michelagnolo Bonarroto fiorentino)


Esatto, bravo!