Gas chromatography/mass spectrometry characterization of historical varnishes of ancient Italian lutes and violin

“…resin. [15][16][17] However, these results gave only a partial understanding of the materials and techniques used by Stradivari to varnish his instruments. In particular, they provide no information on the stratigraphy of the varnish.…”

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confidence: 99%

The Nature of the Extraordinary Finish of Stradivari’s Instruments

et al. 2009

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“…Dennoch liefern die Ergebnisse Pyrolyse-Gaschromatographie-Massenspektrometrie wurde an einem Shimadzu GCMS-QP2010Plus/Frontier Lab PY-2020iD mit thermischer Hydrolyse und TMAH-Methylierung (25 Gew.-% in Methanol, Acros Organics) nach einem adaptierten Protokoll durchgeführt. [16,17] Eingegangen am 13. …”

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Zusammensetzung und Aufbau des berühmten Stradivari‐Lackes

et al. 2009

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“…Colophony, Strasburg and Venice turpentines, sandarac, copals, benzoin, elemi, and mastic are vegetal resins typically used in violin varnishes. Shellac is a resin exuded by an insect (Echard et al, 2007).…”

Section: Introductionmentioning

confidence: 99%

Modal Parameters of Two Violins with Different Varnish Layers and Subjective Evaluation of Their Sound Quality

Skrodzka¹,

Linde²,

Krupa³

2013

Archives of Acoustics

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Two violins were investigated. The only intentionally introduced difference between them was the type of varnish. One of the instruments was covered with a spirit varnish, the other was oil varnished. Experimental modal analysis was done for unvarnished/varnished violins and a questionnaire inquiry on the instrument's sound quality was performed. The aim of both examinations was to find differences and similarities between the two instruments in the objective (modal parameters) and subjective domain (subjective evaluation of sound quality). In the modal analysis, three strongly radiating signature modes were taken into account. Varnishing did not change the sequence of mode shapes. Modal frequencies A0 and B(1+) were not changed by oil varnishing compared to the unvarnished condition. For the oil varnished instrument, the frequency of mode B(1+) was lower than that of the same mode of the spirit varnished instrument. Our two violins were not excellent instruments, but before varnishing they were practically identical. However, after varnishing it appeared that the oil-varnished violin was better than the spirit-varnished instrument. Therefore, it can be assumed with a fairly high probability that also in general, the oil-varnished violins sound somewhat better than initially identical spirit-varnished ones.

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Gas chromatography/mass spectrometry characterization of historical varnishes of ancient Italian lutes and violin

Cited by 69 publications

References 18 publications

The Nature of the Extraordinary Finish of Stradivari’s Instruments

The Nature of the Extraordinary Finish of Stradivari’s Instruments

Zusammensetzung und Aufbau des berühmten Stradivari‐Lackes

Modal Parameters of Two Violins with Different Varnish Layers and Subjective Evaluation of Their Sound Quality

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