Marijan

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About Marijan

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  1. Is there a Sound Post "General Rule/Tendency"?

    I don`t know that it will sound the same. But the change in the scale lenght will be smaller than the change in the distance between the bridge and post. We talk about a milimeter or two deviation from the "ideal" scale position, if that. Again the position of the pair (bridge/post) is less importante than relation between those two (talking about the resonable limits of a few mm). And I simply get a picture of that relation slightly quicker than if I need to retune the instrument every time. I do make final setup, again by ear after the bridge is back in corect position and change the relation if needed. But now I know what my set up goal is, since I already heard it.. I initialy place the post slightly more to the west . After a month or so I usualy need to move it to the east, due to the spruce compresion, to increase the tension. For a mm or so.
  2. Is there a Sound Post "General Rule/Tendency"?

    No, I am just getting the idea what relation between the bridge and top of the post will be appropriate for the given instrument. Bridge goes back on it`s " hot" spot and afterlenght is usualy around 55mm. I sometimes need to adjust the bridge/post distance after that, but not for much. I may be wrong but I think that the change of the post-bridge distance is biger than change in afterlenght. Again, it just gives me the first impresion what will work for that particular instrument.
  3. Is there a Sound Post "General Rule/Tendency"?

    When determining the north/south bridge/soundpost relation I start with the initial "by the book" position of the bridge and the post (1,5mm inside the bridge foot and around 2mm south of the the bridge works for me as a starting point) when setting up and instrument. Tension is set so that the post will fall under the light preasure acros the "C" bout. Since I belive that it is a relation between the bridge and sound post and not the actuall position of the post on the soundboard side, that is realy matter, I change the position of the bridge (north-south) under the full string tension from 1-5mm from the post to establish optimal distance of the post from the bridge. I try that (by playing) on a several positions, till I am satisfied (results are as Roger described), than move the bridge back to the correct string lenght, and reset the post to the established distance from the bridge. It usualy work very well as a first information, and save me retuning the violin several times. I usualy end up nearer to the bridge with lighter more flexible top. I do final tension and east west seting after a month or so.
  4. Well said. After the spine surgery, i had to limited my sitting time so I can work only about 3 or 4 hours per day. I was considering the choice to use power tools in some phases of work, to spead and ease the work process but after some thinking I decided against it, at least while I can still do what needs to be done without power toolls (though I do use electric drill to make a holes in a pegbox). I simply enjoy working the way I did before the injurie and I am not prepared to sacrifice that for now. I can still make 4-5 violins per year and that is enough for me to make for living.
  5. Guns and violin making

    Perhaps not much, but big things usualy do start with small ones. Roger is probaly addressing the violin making coumunity simply becouse he can reach the largest number of people from his position that way.
  6. Thank you Evan. What am I realy interested in is what kind of recording is the best suted as a presentation material. Something like first impression the maker can offer to a customer that need the first information about your instruments. Here is one more sound clip that was recorded with the same equipment as the above ones. But taken in a smaller studio room which was completly dry. Zoom 6 was five feet closer than in first situation. Played on my earlyer violin of the same model and similar performance. Sound is quite diferend. I seems to me that the second one is more informative in face stuf that is more truthfull and real like than the first ones. First ones are more like we are used from a regular studio recordings. Moore pleasent to the ears. What kind of recording to you prefere for the purpose I described. I know that the judgement by recording is almost imposible but anyway. ZOOM0007_LR.mp3 Another player.
  7. Piano player and myself prefered number 2, but the violinist liked no.1 more. Diferent perspectives I guess, since the player is behind the bow and judging more faktors that define an instrument than the listener. I firgot to mention musicians: Piano - Tadej Horvat ; Violin - Nejc Avbelj Othervise the violins are based on the Del Gesu 1734 Lo "Stauffer" form. Thanks for listening .
  8. Got myself new toy/tool. Still learning how to use it but I`d like to share few recordings of my last couple of violins. Violin & piano parts and a couple of solo parts. Room (12x7x4m) was not as dry as I would want it, and I would position the violin closer to the mics next time. Distance from the players was about 4-5m. I used the x/Y 90° plug in stereo mics that came in set with h6. No "post processing" just conversion from WAV to MP3. All in all I think this is a decent device for a price even used with it`s owne mics. Any recording tips from someone that use h6 (or h4....) is most welcome. No need to say I guess, but anyway, use the headphones or a decent stereo to listen. Violin_1_&_Piano_Massenet_Thais.mp3 Violin 1 Bach Sarabande.mp3 Violin 1 G-major scale.mp3 Violin_1_Monti_Chardash_solo.mp3 Violin_2_&_Piano__Massenet_Thais.mp3 Violin 2 Bach Sarabande.mp3 Violin 2 G-major scale.mp3 Violin_2_Monti_Chardash_solo.mp3
  9. Deformed bow

    Is this for real, not photoshop demolition?
  10. Bow with Tortoiseshell frog ID

    Still used in some parts of the world. When i worked on my 1796 Fabricatore mandolin, I had to reconstruct some of the mising parts of TS using artificial (although natural) material. I had a few small antique fragments of TS which I used on the neck stripes, but majority was made to imitate TS. TS is avoided even in museum conservation works these days.
  11. Help with mandolin - advice please?

    Thank you Joe.
  12. Help with mandolin - advice please?

    I hope that this will work. Not sure if I can upload mp3 here. Recordings are made useing digital handy recorder with in built mics, in a smaller size, quite "dry" room. Unfortunately, it was short, time limited "sesion", musician didn`t have a chance/time to adopt to the much narower neck than on her modern bowlback, so there are inperfections in the performance. Files where made mostly for personal archive, but anyway listned through the headphones, one can get some impression about it`s sound. Copy_of_MANDOLINA_1.mp3 Copy_of_MANDOLINA_2.mp3
  13. Help with mandolin - advice please?

    Yes FC, except the pegs. Those where turned by almost 80 years old craftsmen. I did final shaping and surface finish of the pegs. One original peg was there luckely, so the others are period correct replicas.
  14. Help with mandolin - advice please?

    Yes, it is original Fabricatore. It will be loaned to our largest national musical instrument collection in Ptuj castle museum, for a period of one year perhaps longer, not sure yet. And yes it is fun to play. At least that is what was told to me by a musician who recorded few sound files for the archive on Fabricatore. Thanks.
  15. Help with mandolin - advice please?

    This topic was started quite some time ago, still just wanted to share few photos after the conservation / restoration work was done a couple of months ago. The mandolin is in fully playable condition now. Hope you will enjoy it. I certainly enjoyed working on it.