upnorth

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About upnorth

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    http://www.upnorthstrings.com
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  • Gender
    Male
  • Location
    Traverse City
  • Interests
    Double bass construction, violin and viola also, sales of instruments but no Strads or del Gesu's.

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  1. Just as an opera soloist should sound different than the choir, that's why they invented the singer's formant, not because it sounds good. You might like it and that is fine, but "forming" the tongue to create that sound is for projection.
  2. Bruce I applaud your article and congratulate you on your publication. I have been interested in the comparison of vocal formants to violin sound for years as have others. I have always thought of violin formants as female in nature. I also think that the formant that corresponds with projection is also somewhat unpleasant in terms of my own perception of quality (and female). I call it the Ethel Murman sound and mean that in the worst way. Times change and what was pleasant or interesting at ome time might not endure the test of time. I don't like it! I don't like some of Heifitz sound either. I prefer Sara Evans over Ethel Murman because she is much more pleasant to my ear. Standing in the back of a large auditorium with each singing "There's No Business Like Show Business", Ethel would project with a much louder sound (no mic of course). So this leads to my comment. The necessity of projection of sound over an orchestra is a requirement of a concert instrument. And judging from some personal correspondence with those who actually do set up work on these insttruments, much of the projection and timbre is controllable in the set-up, which includes bridge tuning, tailpiece weight and flexibility and other factors than body modes. How much can a set-up artist change the formants? What about a transgender violin, is that possible?
  3. Dang it to heck! You all are killing me with your inspiring work! Especially Melvin's cello. I haven't been able make my new bass because I have too many orders for these guitars. But I have an a drawing of an original W. Tarr gamba bass behind my bench taunting me to build (Chet, you know) for over a year now. I have been busy doing this...[beware, guitar content. This will take you to youtube for a 5:38 seat of the pants production] http://youtu.be/5WXwOwg34co
  4. Oh and by the way there is no such thing really as veneering both sides because the ribs are laminated from a few thin strips of veneer. Sometimes in a 3 ply or 4 ply the middle layer or two are crosswise and the outer layers are the opposite. But I have also seen the crosswise layer in the inside (not core).
  5. I am not sure why someone would think this is the wrong forum to as such a question. I believe I could help you entirely with your design and method of laminating your gamba type instruments. Then with some further help help, they could actually turn out good. I don't come around here too often anymore but someone like me just might be around. Oded is correct in that AF glue i.e Unibond 800 is an excellent glue and easy to work with in this regard. An even more waterproof glue is PF glue (not pink floyd glue but phenyl formaldehyde). Laminating instrument into a tonewood can be very successful as proven by Gibson guitar company starting in the 40's but they were made to be amplified by an electronic pickup. Thousands and thousands of acoustic guitars are laminated and that is a little know fact. For example a guitar for sale has the description "spruce top, rosewood back and sides" would usually mean laminated construction whereas "solid spruce top and solid rosewood back and side" would be reserved for the non-lam instrument. It really depends on how far down the rabbit hole you want to go. Are you wanting to make just one or start a mini production line?
  6. I was shocked to hear the news. I grew up in Colorado where he was from and although I was never friends with him I was a good friend to his brother John who is also a talented player. I remember once when Billy Joel came touring through town and had a concert scheduled at Red Rocks Ampitheater, he asked Gene to play with him on shage. Joel had a song with a simple violin solo line in his pop style. Gene asked for the sheet music and appearantly got a cross eyed look from Billy who said, "no music...here's the recording...see you there. I got the impression that this created more anxiety than playing Paganini RIP Gene.
  7. This is on my bench, well it was but is now finished. Hey you asked Craig...I have a student cello there too but you don't want to see that. In the guitar business we "relic" to make it look old not "antique" (both used as a verb).
  8. Dutch, I think it depends on the strings. Chalk the bottom of the string by pulling it away from the fingerboard and running a blackboard chalk down to about the end of the fingerboard. bow the string and see where it hits the board. It will leave the white chalk on the black fingerboard. Start with open string and move up. Try some aggressive plucking finally and shave with a scraper if you see white.
  9. That is a very beautiful instrument and you must be a very proud violist right now! Hope to hear you play some day.
  10. I got the Text. Thanks from the helpful member Catnip, If anyone can scan the photos that would be great, but the text is what I really wanted. Thanks.
  11. I would like to read and see the photos of the article about William Tarr in the Strad magazine. It is in September, 2000. I would gladly purchase if from the purchaser but I don't believe it is available as a back issue. Does anyone have this issue, and if so will you please contact me if you can sell it to me. I am interested in making a double bass of his design. I have an original to copy but would like to know more about the maker. Thanks.
  12. I am surprised you haven't seen one of these Michael. They vary but basically it is a center brace, similar to the flat back sort, but has to be fitted in. I will poke around for a photo. Back bracing is one of my particular interests and I believe has a significant effect on projection of the DB. It can focus the sound quite a bit if done correctly. I am talking flat back here but the concept is global.
  13. Working on basses is certainly a worthy persuit. I would not recommend any book. Restoration of the Puhlmann bass should take into consideration that they are very nice instruments with the high quality workmanship and tonewood. As you pointed out at the start. You might consider putting a brace into that bass back after repairing the crack. Some makers do this in new construction and it is a good way to prevent future problems. It will have to be fitted and then thinned, and is fully reversible. Sound will not suffer, and in fact may get a little more complex. Two thirds of the string force is transferred down through the post onto the back.
  14. Maybe one of these would work well. www.lie-nielsen.com/catalog.php?sku=DP#
  15. I have spoken with the owner of said violin warning of the possible expenses and responsibilities of holding such an item. It is with reserved excitement that they expressed a desire to entrust me with delivering the violin for a proper appraisal. p.s. I don't know why I am writing like a lawyer