SSM

Do all Stradivarii sound the same?

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Agree. Anyway, I hate that sound!

Orchestras are SOOO last century, in fact 18th!

Violin foo.

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Back to the OP ----

I recall seeing a video clip of a Master Class given by Heifetz.

The Maestro plays a short piece on his own violin (probably a Strad) and it sounds lush and fabulous.

Young female student then plays the same music on her own (serviceable but commonplace) violin - scrawny and thin sounds emerge.

Heifetz tut-tuts - young female student indicates (boldly!) what do you expect with the difference in violins?

Heifetz reaches out to take student's commonplace violin - "no no, maestro - you cannot lower yourself to play on this awful instrument" she says, horrified.

Heifetz takes it anyway and plays the same music again, this time on the naff violin - it sounds lush and fabulous.

Young violinist looks utterly devastated, Heifetz passes the 'naff' violin back with a bit of a sneer --- I think she must have given up all hope at that point. :P

So, it ain't what you got, it's the way that you use it. :)

If you can locate that clip, link me to it.

I would relish looking at the facial expressions of both Heifetz and that student.:D

It's true that a violin virtuoso can reproduce his magic even with an entry-level violin. Still, for the big performance occasions, you won't see them taking to the stage without their Strads or Guaneris.

SS

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i have often wondered about this. Stradivarius' career and business went through phases and had periods of employing staff of differing enthusiasm and skill, like anybody else's. Stradivarius was among the best makers of his day, but you can only do so much with wood and varnish. My feeling is, when these instruments end up in the hands of great players, who tend to have a sense of where they fit in their musical heritage, they seem to find something deeper in themselves rather than the instrument. Inspired, having under their fingers, instruments owned by kings and conquerers and played through the centuries by the revered masters. In a sense, that still means the instrument is responsible, but the soul of the instrument rather than the spruce, maple and secret formulas of varnish.

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Seems pretty clear to me that the Strads that are merely bi-wired will all sound the same, whereas the ones with digital crossovers and bi-amping will sound different...

:run:

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Nothing to do with stradivarii but didnt know where else to put it.

I know SSM - and many here- is a big fun of the Diva (as I am).

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Do all Fenders sound the same? No? How can that be? They're not even acoustic instruments....

Then, do all Martins? Oh, there's different models, are there? And some are worth considerably more than others? That wouldn't be because they sound different would it?

And Strad, he employed a number of different models - G, MB, long Strad, etc. You can see the different molds used to produce them in the Stuart Pollen's book, or if you're feeling keen a trip to the museum in Cremona, where almost all of his tools and templates are on display. You might expect his different models to sound different, mightn't you?

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Presumably the correct collective term is Stradis Various...?

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There are obviously lots of bollox sensed, but if YOU prefer Strad no. 000000000000000000000000001 to music - just enjoy the expense-ripoff-fun .....

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Do all Fenders sound the same? No? How can that be? They're not even acoustic instruments....

Then, do all Martins? Oh, there's different models, are there? And some are worth considerably more than others? That wouldn't be because they sound different would it?

And Strad, he employed a number of different models - G, MB, long Strad, etc. You can see the different molds used to produce them in the Stuart Pollen's book, or if you're feeling keen a trip to the museum in Cremona, where almost all of his tools and templates are on display. You might expect his different models to sound different, mightn't you?

Not only are there different models - ie patterns - but Stradivarius was not a person, but a family and an early example of a factory. Almost all Strads were made by apprentices and highly skilled workers. Whilst being a wonderful maker himself, Stradivarius would nowadays be referred to as a designer rather than a maker. He was not like the single man craft violin makers we have nowadays, violins were comparatively mass market in those days,and many many thousands of his instruments have disappeared in the centuries since their manufacture. No, all Strads do not sound the same, because there are mighty fine ones, reasonably good ones, and some that are really crap, not much better than Chinese Lark rubbish. I have said it before, my own violin, a Paul Voight, is considerably better than many Cremona violins, and has been used in demonstration in the past to audibly outperform an Amati violin worth around a million in its own right. My instrument is worth perhaps £20k. Name and value does not guarantee the finest sound.

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I have said it before, my own violin, a Paul Voight, is considerably better than many Cremona violins, and has been used in demonstration in the past to audibly outperform an Amati violin worth around a million in its own right. My instrument is worth perhaps £20k.

You wearing a Hi-Ris jacket?

That would be Paul Voigt - he dropped the "H" when the market became flooded with unwanted Amatis.

2 to 4K auction price, retail 4 to 6K. If someone has offered you £20k why not sell it and buy another half dozen or so? Had a P Voigt viola once, mint condition and Hill papers, so I kind of keep an eye on what they're doing.

Same family as Voigt of corner horn fame, incidently. As we're on a hi fi forum.

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You wearing a Hi-Ris jacket?

That would be Paul Voigt - he dropped the "H" when the market became flooded with unwanted Amatis.

2 to 4K auction price, retail 4 to 6K. If someone has offered you £20k why not sell it and buy another half dozen or so? Had a P Voigt viola once, mint condition and Hill papers, so I kind of keep an eye on what they're doing.

Same family as Voigt of corner horn fame, incidently. As we're on a hi fi forum.

Excellent, specialist knowledge, sarcasm and wit all in one post. Good quality wamming sir. Actually to value my violin, I was going on the fact that I was offered 15k for it well over a decade ago by a rather prominent solo violinist, when he played my instrument against the Amati he was considering using at the time. It is all rather academic, it can be worth £50 for all I care because no amount of money would make me sell it unless we were really desperate. It's a Manchester instrument, rather than from the London workshop. I love it, which probably comes across.

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