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About Collin

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  • Birthday 12/04/1991

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    Ham Lake
  1. Isn't chalk abrasive?
  2. 1/4 wavelength might be as good ()Link. This would make for a box that is closed at one end, and 97mm x 59.946mm x 59.946mm. (1:.618:.618) The other two dimensions were found using the golden ratio (.618...). Alternatively, one could use 97 x 64 2/3 x 48.5 (1/4:1/6:1/8)
  3. quote: I would rather compare del Gesu to van Gogh than to Picasso I could see either. Picasso wasn't a detail person, del Gesu wasn't a detail person. van Gogh showed brush strokes, del Gesu showed gouge marks. I feel like a presidential candidate working for damage control
  4. quote: That would depend more on the modeling than the workmanship style, I think. Now that I think about it, yes, I agree.
  5. quote: Originally posted by: Darren Molnar There probably are violin makers out there who would like to work from their own s, and have a type of workmanship that emphasizes a wonderful tool, material control, yet don't sweat the small details. And play fast and loose with symmetry and the like. there may be a few brave souls who are actually doing this. Don't worry - there are. quote: And I see more and more players thinking a violin is a device, and not a tool. And not realizing the distinction. If they were to see one f-hole higher than the othe
  6. With an adjustment, how does one accentuate on region of the resonance profile or another? For example, a del Gesu: So let's narrow it down. Seeing as there are four main regions of predominant resonances (Helmholtz, corpus, nasal and brilliance), what does one do with, for example, the setup, to accentuate a specific region? Edit: Sorry the pic doesn't fit - it won't show if I insert it as the attached file.
  7. When I'm learning a piece, I usually think about the notes and phrasing, or if intonation is a concern for a passage, I will imagine the passage, and then play it with my "mental soundtrack". Ultimately, though, when a piece is polished, I'm not thinking. I'm just playing. It's really quite wonderfull.
  8. quote: If you moisten with the tongue, the proteins in saliva will also help strengthen the wood when it is dry and compressed (as Mr Nigogisian indicates in the Curtin manuscript). Curious. I wouldn't have thought of that. GMM22: Perhaps the limitation that the craft must be rotary based is because it would then be a helicopter, and thus gain publicity for all the helicopter manufactuers with which the AHS is likely under contract with. Much like any violin has to be based after a Strad, Guarneri, or Amati to sell.
  9. quote: Collin, I want to make sure I understand the orientation you suggest --- using GMM22's terminology you're saying to make a slot perpendicular, rather than parallel, to the ground and hammer the bridge in (probably top first) --- is this correct? Yes. With a violin bridge, I don't think it makes that much difference which way the top is pointing, as so little wood is used. With a 'cello or bass bridge, however, it may be better to have the top pointing away from the center. quote: Re: borax, yes I'll probably try this and other things. I'll let you know if there are an
  10. GMM22, are you sure? I thought the faces were on the quarter, not end-grain - maybe I misunderstood you. On-the-quarter would signify that if you were to split the trunk into quarters, eights, sixteenths, et cetera, the bridge is cut wih the grain running side-to-side, and most are probably cut with the feet pointing out. A word on borax treatment - I don't do it anymore on bridges or soundposts. I may try it on an instrument in the future, but for the time being, I prefer a bridge that is more flexible, and borax discourages that. However, if you are going to experiment, it would certainl
  11. Yes, and so do I. I'll fix that. Oops...
  12. I agree with Marilyn, but my approach differs slightly. I'll go through what I do. First, fit the feet. I start with sandpaper (my results are more consistent, and allow for more fine-tuning later when I use sandpaper to start). I lay the sandpaper so that I can see one of the f-holes, and line the bridge up with the nick. The back (the side with the stripes) should be perpendicular to the top, though with taller bridges, I will tilt it minutely towards the fingerboard to prevent warping. Anyway, once it is lined up with everything, I sand the feet down by moving the bridge north to south
  13. I hollow bridge feet east to west, then moisten the feet before stringing it. This way, the tips are under stress so that the pressure is more even across the foot. Could you go into more detail about how hollowing N to S would make the N to S vibration of the bridge more prominently transferred to the instrument?
  14. Luscombe carries them: You can see them here: Catalog I haven't tried them yet - but I hope to. Does anyone know if they are treated as Milomir speaks of?
  15. Soil Strad Notice the peg in the eye of the scroll.....