Quote:
Originally Posted by Matthew Tucker
Sounds like a reasonable theory, and easy to test. So do we suppose Sacconi removed the bass bars of dozens of strads to develop this experience? But why with no bass bar? And so if Strad chose to put his notches at the N-S balance point, how did he come up with length, width, shape, angle? Is the balance point observation a convenient rule of thumb or is there an underlying functional factor?
Or did Strad cut his FFs the way he liked them to look, then graduate his tops so that they balance across the FF notches?
Well it still sounds neat, so maybe I'll do that measurement on a top next time I have one off. How does your cornerless bass rate in that dimension, Ken? Is the top still off? Can you measure it?
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You mean MY Cornerless old Bass of Ken McKay's new one? Mine is off at the moment for restoration. This bass is fantastic and hundreds of years old so there is no speculation on how it 'WILL' sound when it breaks in or matures. It is 'well' broken in already.
On your Strad question (how did he come up with length, width, shape, angle?), we must remember that he was able to learn from the 3rd generation of the Amati's. He didn't have to invent the Violin, just 'tweak' it some!
One problem here that was not mentioned about Strad is that 'most' Strads have been altered in many ways including graduations by previous repair persons believing that they needed correction. I saw one Strad not long ago that was from 1694 and considered the smaller/early pattern. The Top had already been replaced but by Strad in 1725. Somehow this was either documented or appraised at some point. The workmanship and tone was there even though the Top was from his 'Golden Period'.
If you were asking the other Ken, then ignore all I just said.. Sorry..
