Interesting bilind testing of Stradivarius Violin

****You know, I wouldn't be surprised at all if most of them were deaf, quite frankly.****

Huh?!?!

05-20-14: Frogman
****You know, I wouldn't be surprised at all if most of them were deaf, quite frankly.****

Huh?!?!

He's referring to the fact that SPLs in the middle of an orchestra can be quite loud. If ear protection is not used, hearing damage is quite possible. See the following article if interested: http://www.ciop.pl/44610

From the article:
... the A-weighted equivalent
continuous sound pressure level LAeq measured
over the duration of a single music piece, on the
stage among musicians of a concert orchestra
(wind instruments) is 83.0–106.5 dB.

Dick

Frogman wrote,

"Huh?!?!"

I said I wouldn't be surprised if most of them were deaf because of the night after night sitting and playing in orchestras with high sound pressure levels. That can't be too good for the old hearing. Maybe they wear ear plugs.

Playing in an orchestra is not likely to make you deaf--unless you're sitting BEHIND the horns, which no one does.

Joseph Curtin (name was misspelled in the article) is quite well-known and no doubt has a long waitng list. He likely needs no advertising.

The fact that the players were fooled is huge. I don't think that some people are getting this. That is the difference between this and previous tests which relied on the listeners and not the players to judge the instruments.

Geoffkait, I hope that what you wrote is hyperbole more than anything; and,
surprising for someone who cares so much about the more ephemeral
aspects of sound. Tostadosunidos is quite right in that playing in an
orchestra is unlikely to cause deafness. Now, it is true that some musicians
do suffer hearing damage from many years of playing in orchestras.
However, musicians in orchestras today are extremely conscious of this
potential and are very very careful about using protection when necessary.
Moreover, since the potential for hearing damage is cumulative, many
players will use protection while off the stage during non-working hours in
order to limit the total exposure to loud sounds over the course of the day.
There is a lot of misunderstanding and myth about this, the Strad business
and many other aspects of a professional musician's life.

Tostadosunidos, Curtin may be well known, but not as a player. He is a
violin maker and that was my point about conflict of interest. Additionally,
there are musicians and then there are musicians; let's just leave it at that.
Anyway, and I will say it again, there are fine instruments being made
today. However, it is absolutely true that for many players the Strads and
others have very special qualities that are often not found in modern
instruments. To not acknowledge that is simply to not understand what
most truly accomplished musicians look for in an instrument and to not
understand the process of playing music itself. Again, a lot of myth and
misunderstanding.

What is being talked about here does not apply only to string instruments
but also to woodwinds, brass and even percussion. Instruments back
when Strads were made (and winds in more recent times but still before
what can be considered current) were made with a different sensibility and,
ironically, without the help of modern "knowledge", techniques
and even computer analysis; there was more reliance on craftman's
intuition. Many of these vintage instruments are actually harder to play at
first than many modern instruments and require a certain familiarity with
their unique character before the special qualities of projection, complexity
of tone, and feeling of response reveal themselves. The way an instrument
responds does not necessarily have anything to do with that instrument's
inherent sound and what a listener may be able to hear as a difference, but
rather it is what determines wether the player will feel at home with that
instrument; a consideration which will then allow (or not) that player to fully
express the music as he feels it and that is a key point. The choice of
instrument for an accomplished player is very personal and like a marriage
of sorts. Some players may want the faster response of a modern
instrument and be content to sacrifice that last tiny bit of harmonic
complexity in the sound, while a different player may feel more comfortable
with an instrument that demands some coaxing and rewards with a certain
depth of tone and power of projection not possible with the other. To
anyone who thinks this is just gobledygook all I can say is that you just
don't understand.