Even between two Gibson LP models of the same year (1992) the differences are well noted. The guitar care is important, let’s see why.
Setting up regularly is perhaps the most important variable, to have a performance guitar or bass that does not lose value over time
These two Gibsons have been changed the frets (the same dimensions for both) we reviewed the setups pretty much the same, but the playability of the instruments is still very different. The non-care of an instrument leads to make it less efficient at the fingerboard, neck and timbre.
A neck left untouched over time, can become very tenacious, but in the wrong position (upbow, backbow, or worst). Wood, by its nature, can bend in various points and can twist itself. The pickups can be demagnetized or broken. The metal parts (bridge and tuners) can oxidize to the point where they can no longer be used. And we could go on like this, listing other degenerative possibilities.
The conclusion is, let yourself be seen occasionally by a luthier. Spending 50 dollars for a setup is an insurance, as well as a professional intervention.
Expo of Liuteria Cesarini – Guitars for sale, we are in the Center for Biblical Studies, Montefano (Marche). We thank Danilo Vecchi and the Center for Studies for the organization. In the video Exhibition of three-day “Pioracoustic 2017” (earthquake edition) at the Center for Biblical Studies, our stage.
Building a violin, a cello or a viola with personal shapes and dimensions is always the right choice for Atelier Cesarini. But there are exceptions, some works are certainly inspired by the well-known stradivarian shapes and by dimensions of antique violin makers (Amati, Guarneri, Gasparo da Salò). Perhaps the most used, in general in violin making, is the “Cremonese” violin template (faciebat Stradivari, year 1715).
The experimentation, of the various and possible forms of stringed instruments, has been widely done in the past years. Today it is difficult to reinvent something new in this sector.
The dimensions and volumes of classical lutherie have kept them unaltered, since the timbre of the instrument as it was conceived in the past, has been achieved following many empirical tests, which have fixed the sound canons in the ears of musicians and authors, who are past or modern.
It comes naturally to a classical orchestra musician, wanting to replicate the “sound” of a certain repertoire of the period, through an arched instrument that does not go too far from the known.
Conceiving sounds in an abstract and inventive way is a luxury that unfortunately does not belong to the classical repertoire (it is called “classic” also for this reason). The canons are there, getting out from those, can lead to the non-compatibility of the musician with this world.
Discovering a true antique violin from the 1800s or 1900s can be very interesting.
We need to consider that almost all the old musical instruments have now been undercovered, due to the strong interest of a multitude of people that want to take possession of them. So we need to be realistic when we find something, that maybe can have value. A real antique violin of 1800, for example, it can come real damaged, rarely in good condition, expecially the top spruce and varnish.
Be aware of flea markets, or not very transparent luthiers, who try to delude you of having a rediscovered a “pearl in the desert”, dated two hundred years. More plausible it is instead a violin that an old owner wants to undo it and then sells it, perhaps through an intermediary.
In the downer photo, the instrument in restoration, has just been rediscovered in an attic. This is a bit the clichet of classical lutherie: “Nonna told me that there is a Stradivari above!”.
It is not “Stradivari“, but a copy of an old German violin with a label bearing “Stradivarius Cremonensis, etc.”, is a copy, but it retains its interest. The woods of this instrument will certainly be very seasoned, even if a bit “bruised”. Finding it partly destroyed is the least that can be expected, we consider that almost a hundred years have passed, they are not few.
Atelier Cesarinibuy old violins and other antique instruments (also bows) during the year and we restore them. We call those “Cesarini Collection“.
One More Dub recording, studio in Orvieto and record label (the cave studio, look at that!) , organizes this musical jam between the two musicians, Alfredo Golino e Lusi.
Lusi is playing with the C-Gold Bronze, Cesarini Vintage Series ’70. That is a bass that can allow every bass technic, Lusi sometimes lay down the hand on the bridge and “pinch” the strings, the stopped sound could be really like a double bass.
He use a Proamp amplification that goes directly to mixer. The recording equipment is minimal, important on this jam is the dynamic, is not simple to follow a master, like Alfredo.
We recall some prestigious collaborations by Alfredo Golino. “Mina, Laura Pausini, Gianni Morandi, Vasco Rossi, Raf, Pino Daniele, Renato Zero, Eros Ramazzotti, RAG, Battiato, Fiorella Mannoia, Riccardo Cocciante, Anna Oxa, Ornella Vanoni, Marco Masini, Michele Zarrillo, Alice, Anna Oxa, Zuccero Fornaciari, Bocelli, Joe Coker, Tina Turner, Enrico Ruggeri, Platters, Enrico Rava and many others “
We thank Alfredo Golino and Lusi who give us about 10 minutes of linear jam session, the two musicians have practically known each other playing, that is fantastic.
The chinrest is a wooden part (ebony, boxwood, tamarindo, rosewood), which is mounted on violins and viola, through metal clamps that tighten by threading. It was invented in the early 1900s, so by many past interpreters it was not used. With the request for a repertoire, increasingly difficult to play, the chinrest has become an integral part of the instrument, only a few do without it, thinking of ruining the vibration of the instrument with its presence.
In our opinion, the chinrest for violin and viola does not ruin the sound, being cantilevered (which can therefore ideally oscillate on vibration) and being placed on a low resonance area. The two clamps in fact tighten on the ribs, near the bottom block, non -“pulmonary” area of the picea soundboard.
The structure of the chinrest and the wood used, must respect the principles of vibration, certainly will not have to rest on “pulmonary areas” or on the tailpiece
THE DIMENSIONS (THE CONCAVITY AND THE HEIGHT) ARE IMPORTANT FOR THE PURPOSE OF SUONABILITY.
The following promotion is valid only during certain periods of the year and can not be combined with other offers in progress. It may be requested by all european students under the age of 25, attending a course of music that could be private or public (Conservatories, Music High Schools, all schools of music that have no association, regular private teachers).
Discount in percentage, calculated on the final cost of the product:
“Ussa and al bene così” extract from Valter Vincenti “Colors” , filming takes place at “One More Dub studio” the cave studio in Orvieto (Umbria).
The recording takes place through collective direct shooting, with metronome (given the use of a base composed of atmospheric sounds). Valter uses Orange amplifier and Costa Lab pedals, Lusi Proamp amplification and no effect. Great special guest is the fourth man, Luca Ravagni, saxophone by Giorgio Gaber.
Cesarini Jam Session is a project of Liuteria Cesarini, jam are done with our endorser and our musical instruments.
The following video represents the dilemma of every student or professional, where to look for the “perfect” musical instrument?
Vintage, handcrafted or studio?
We are in 2017, the era of the web is more real than ever, but unfortunately the common musician does not have exactly a precise idea of what goes on in the market and, above all, of what he needs.
Doubt is certainly a symbol of ability to discern, too much security often leads to risky purchases. Try and listen, this is what we recommend to all musicians looking for their musical instrument.
One’s own subjectivity plays an important role and must not be put aside. The advice of a friend or a professor should never be disdained, indeed it is precious, but it must be sought and not received in a coercive manner. This must never become a “dictat”, one’s taste must become contaminated with various opinions, to strengthen oneself not to annihilate oneself.
The search for wood, for the realization of musical instruments, is a very important discipline for the violin maker, it requires its maximum effort in the online and physical research of the material.
Online market is larger and richer than many others market, the same can not be said for the wood market. This precious material is sometimes found in the most unexpected ways …
… from an elderly violinmaker who closes, from a carpenter who has bought too much for himself, from a farmer who cuts his own plant under his house. Obviously, the seasoning of the wood must be done, especially if the plant has recently been torn down. A different story is made of wood taken from a luthier, who often bought already seasoned wood at the beginning of his activity. This is the best pratice to become the best place to buy a violin.
In Atelier Cesarini often we select seasoned woods, at least 10-20 years, but thanks to the availability of old lutheries that end up activity, we can have seasoned wood up to 40-50 years. This precious material creates the difference in production. The best woods are not used for the production of studio instruments, but for the only professional musical instruments.