I agree with some previous posters that the question isn't "What made Stradivarius instruments so great" as much as "how are we defining 'great' in this context?"
I have played fiddle for 10 years, mostly bluegrass and Irish music. I've also spent time in an orchestra as a clarinet player, as well as a smattering of other instruments. The world of bowed strings and the prices associated with Strad-grade instruments has always astonished me. I can't name another type of musical instrument people are willing to pay hundreds of thousands of dollars for, and I think there are a couple of factors behind it:
1. Most classical violinists play in the company of others, i.e. in an orchestra, where 'one-upmanship' can play a big role. If your instrument isn't as expensive as your stand partner's, you might fear the perception that you value your craft less highly! In fact, I'm told some orchestras won't audition players unless their instrument cost a certain (quite high) dollar amount.
2. I can say as a violin player that the instruments are basically impossible to perform systematic A/B tests with. For example, I can't A/B two different brands of string on my instrument, because changing the strings takes at least 5-10 minutes, by which point my short-term aural memory is already gone. Furthermore, it's next to impossible to change strings without shifting bridge and tailpiece position, both of which affect tone as well. Need some more nails in the coffin? Rosin buildup on the strings and string age also affect the tone _more_ than different brands of strings do. It's a different picture than, for example, factory built electric guitars, where you could set up two identically built solidbody guitars with your A and B stringsets, and (at least within a first order) you could claim equivalence between your two string-testing platforms.
In the absence of the ability to perform systematic tests, it seems like string players go for a lot of "magic" - $90 sets of strings, rosin with gold flecks in it for "warmer, richer tone" - and a lot of other bullshit, including price-performance equivalence. Like Lotus owners, violinists are usually limited far more by their technique than their instrument (once you get into the 10-20K range), and yet there is still a push to buy the 100K instrument!
As for the Strad instruments: scientific inquiry into things like wood density, varnish, etc, seems pretty disingenuous if no one can reliably detect the qualities the instruments are supposed to have. If, as the earlier posters mention, Strads can't be reliably detected in double-blind conditions, it seems obvious that any investigation into their unique properties would be chasing one's own tail. Even if there is an amazing, one of a kind Little Ice Age, shipwreck-sunk virgin blood Stradivarius, none of those attributes are relevant if they don't impact the sound. And if "what makes Strads so great" isn't about the sound, then WTF is the point of the investigation? Dense wood really isn't great for its own sake.
Surely with the number of young people who crave their very own automobile, you would have a large number who want to become mechanics!
read: consumption of a commodity != desire to produce commodity. If it did, I would be in the petroleum business.
I've been seeing this behavior in my logs for months on my website (http://www.learningmusician.com/ - find a music teacher!) - now it makes total sense. In the Help section of my site, I use a form to search for a help topic - and for several months now, one #%(*&@% persistent machine from a Google subnet has been submitting all kinds of trash into that form - looks like just about every word from my site.
Luckily, no damage done, since it's a harmless operation, but I am concerned about being penalized for a high number of "duplicate" pages since the response to each one is probably identical ("Sorry, no help is available on the topic "impediment to." and similar crap.)
It also doesn't seem to know when to quit - it's responsible for more hits per month than I am, and as a nervous webmaster that's saying a lot.
Slashdot Mirror
I have played fiddle for 10 years, mostly bluegrass and Irish music. I've also spent time in an orchestra as a clarinet player, as well as a smattering of other instruments. The world of bowed strings and the prices associated with Strad-grade instruments has always astonished me. I can't name another type of musical instrument people are willing to pay hundreds of thousands of dollars for, and I think there are a couple of factors behind it:
1. Most classical violinists play in the company of others, i.e. in an orchestra, where 'one-upmanship' can play a big role. If your instrument isn't as expensive as your stand partner's, you might fear the perception that you value your craft less highly! In fact, I'm told some orchestras won't audition players unless their instrument cost a certain (quite high) dollar amount.
2. I can say as a violin player that the instruments are basically impossible to perform systematic A/B tests with. For example, I can't A/B two different brands of string on my instrument, because changing the strings takes at least 5-10 minutes, by which point my short-term aural memory is already gone. Furthermore, it's next to impossible to change strings without shifting bridge and tailpiece position, both of which affect tone as well. Need some more nails in the coffin? Rosin buildup on the strings and string age also affect the tone _more_ than different brands of strings do. It's a different picture than, for example, factory built electric guitars, where you could set up two identically built solidbody guitars with your A and B stringsets, and (at least within a first order) you could claim equivalence between your two string-testing platforms.
In the absence of the ability to perform systematic tests, it seems like string players go for a lot of "magic" - $90 sets of strings, rosin with gold flecks in it for "warmer, richer tone" - and a lot of other bullshit, including price-performance equivalence. Like Lotus owners, violinists are usually limited far more by their technique than their instrument (once you get into the 10-20K range), and yet there is still a push to buy the 100K instrument!
As for the Strad instruments: scientific inquiry into things like wood density, varnish, etc, seems pretty disingenuous if no one can reliably detect the qualities the instruments are supposed to have. If, as the earlier posters mention, Strads can't be reliably detected in double-blind conditions, it seems obvious that any investigation into their unique properties would be chasing one's own tail. Even if there is an amazing, one of a kind Little Ice Age, shipwreck-sunk virgin blood Stradivarius, none of those attributes are relevant if they don't impact the sound. And if "what makes Strads so great" isn't about the sound, then WTF is the point of the investigation? Dense wood really isn't great for its own sake.
Whew. rant over.
Find a music teacher. http://www.learningmusician.com/
Surely with the number of young people who crave their very own automobile, you would have a large number who want to become mechanics! read: consumption of a commodity != desire to produce commodity. If it did, I would be in the petroleum business.
Luckily, no damage done, since it's a harmless operation, but I am concerned about being penalized for a high number of "duplicate" pages since the response to each one is probably identical ("Sorry, no help is available on the topic "impediment to." and similar crap.)
It also doesn't seem to know when to quit - it's responsible for more hits per month than I am, and as a nervous webmaster that's saying a lot.
michael