4 ms·

I was curious how the musicians, even with the goggles on, might not recognize the old instruments. I would think the physical touch sensation and especially t

by blunte 5y ago

I was curious how the musicians, even with the goggles on, might not recognize the old instruments. I would think the physical touch sensation and especially the smell would give it away. Just as an example, with saxophones it’s immediately obvious which instrument is a selmer mark iv vs a new horn, even another selmer, at least if you’ve spent time with one.

powersnail 5y ago
Strads are all significantly restored by generations of luthiers. New violins (high end) are usually well-rested when it gets to player’s hands. Unless the old violin has been through some atrocities, like a smoker owner, they won’t smell or touch much differently.
trentgreene 5y ago
I wonder if the touch points of the old violin were modern — I.e new bow, new chin rest, strings. Really would just leave the thumb the the fretting hand on the old surface. Note, am not an actual violin player. But can speak to the sax example, you’re hands are all over the keys, so a VI feels very diff from a VII or series III
- powersnail 5y ago
  Actually, the fingerboard is often replaced, or re-planed, too. The necks on almost all Stradivarius violins are also modified. It's a highly modular instrument, and almost everything can be replaced. The only "irreplaceable" part is the body.
isopede 5y ago
I believe one method is to dab the chin rest with a drop of perfume to mask the scent of the violin.
seanhunter 5y ago
Unlike a saxophone, the parts of a string instrument that you touch are entirely modern, especially given modern violin technique involving a chin rest. The strings are of course modern, the fingerboard gets worn out and replaced a lot during the lifetime, the neck will have been reshaped (and when that happens the soundpost, nut and bridge will have been replaced) and the chin rest is entirely not original[1]. The playing feel of the instrument is largely down to the shape of the neck and how the instrument is set up (type of strings, bridge and nut height, position of the soundpost relative to the bridge). [1] Up until the romantic period, violins and violas were played sitting lower down on the neck rather than clamped under the chin. See this contemporary illustration of Mozart playing for example https://baroquebows.com/wp-content/uploads/Mozart.jpg https://baroquebows.com/wp-content/uploads/Mozart.jpg - no chin rest.

by blunte 5y ago

powersnail 5y ago

Strads are all significantly restored by generations of luthiers. New violins (high end) are usually well-rested when it gets to player’s hands. Unless the old violin has been through some atrocities, like a smoker owner, they won’t smell or touch much differently.

trentgreene 5y ago

I wonder if the touch points of the old violin were modern — I.e new bow, new chin rest, strings. Really would just leave the thumb the the fretting hand on the old surface. Note, am not an actual violin player. But can speak to the sax example, you’re hands are all over the keys, so a VI feels very diff from a VII or series III

powersnail 5y ago
Actually, the fingerboard is often replaced, or re-planed, too. The necks on almost all Stradivarius violins are also modified. It's a highly modular instrument, and almost everything can be replaced. The only "irreplaceable" part is the body.

isopede 5y ago

I believe one method is to dab the chin rest with a drop of perfume to mask the scent of the violin.

seanhunter 5y ago

Unlike a saxophone, the parts of a string instrument that you touch are entirely modern, especially given modern violin technique involving a chin rest. The strings are of course modern, the fingerboard gets worn out and replaced a lot during the lifetime, the neck will have been reshaped (and when that happens the soundpost, nut and bridge will have been replaced) and the chin rest is entirely not original[1]. The playing feel of the instrument is largely down to the shape of the neck and how the instrument is set up (type of strings, bridge and nut height, position of the soundpost relative to the bridge). [1] Up until the romantic period, violins and violas were played sitting lower down on the neck rather than clamped under the chin. See this contemporary illustration of Mozart playing for example https://baroquebows.com/wp-content/uploads/Mozart.jpg https://baroquebows.com/wp-content/uploads/Mozart.jpg - no chin rest.