Until we sayGO! This site as indicated elsewhere is under constructive change.Daily something will be added or different. Until the pay-way is in nothing is entirely quotable. We are of course working on it. ...
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Slightly WIKI, slightly Movies, slightly Shoppe, lots of bench, lots of admin. Lots to do. Total is a lot of combined wo(man) time. With a smoll dedicated team. We are building as we can. Openly. So, that you may follow us on this Mmusical journey. Mostly because we are actually open for business (and because it is easier to see real-time mistakes - as they happen).
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Some time back, when I was busy getting to a conclusion with Saartjie Bass, I came across this quote from Maurice Ravel ... by far one of my best ever composers. Thank you Maurice! Thank you to the fantastic artist, Aubrey Schwartz, who captured his spirit so well in this charcoal portrait.
More specifically Maurice Ravel stated:
”In my own compositions I judge a long period of conscious gestation necessary. During this interval I come progressively, and with growing precision, to see the form and the evolution that the final work will take in its tonality. Thus I can be occupied for several years without writing a single note of the work, after which composition goes relatively quickly. But one must spend much time in eliminating all that could be regarded as superfluous in order to realize as completely as possible the definitive clarity so much desired. The moment arrives when new conceptions must be formulated for the final composition, but they cannot be artificially forced for they come only of their own accord, often deriving their original from some far-off perception and only manifesting themselves after long years.”
In addition to this I add a note fro teh final part of every instrument concluded:
"The violin is wrapped in the sum total of regulated irregularities, even the parts that may seem wrong have their influence, equaling perfection."
Reason for the latter:
One thing that I have found is that all instruments are perfectly imperfect and we have to perfectly fit an imperfect setup to it to make it resonate to a desired tonality ... something like that ... the only instruments that i have worked with or observed that are super close to perfect are the winds or a plastic moulded keyboard even pianos... all others are irregular and asymmetrical to a large degree;)
The importance of the fingerboard cut is right up there with number one. It may seem as though it is a straight forward flat cut along a radial arc from top to bottom ... it is not.