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Everything posted by Collin

  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 other, would most see it a feature, or a flaw? The violin is neither a device nor a tool. It is a work of functional art - the difference between a Strad and a Del Gesu is that between a Rembrandt and a Picasso. And I belive that the tone follows the look of the instrument (generally, that is) - a violin with a beefy, gouge-marked scroll would harldy be expected to have a sweet, Amatese tone. I would see one f-hole higher than the other as a mark of the maker's confidence, and of their knowlegde of the balance between a careless aesthetic and a crystaline one, and ergo, as a feature.
  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 any worthwhile results. As far as finding the "Strad Secret" (assuming one exists) --- I'm not naive enough to think that someone with my experience level will find it. I have just come to believe that setup is one of the most important factors in violin sound quality and the bridge is a major factor in the setup. Therefore I think I will advance more by spending more time working on understanding bridge characteristics than by carving more plates, scrolls, trying new varnishes, etc., etc. Thanks! You may be intereted in Joseph Curtin's "Some Principles of Violin Setup". I should also add that having a perfect fit, both in the soundpost and bridge feet, is critical. I was doing an adjustment of my violin, and the soundpost fit pretty well, but there were some spots that weren't making full contact. I carefully cut those down, moistened the ends, and reinserted the post. The effect was very suprising. It really brought out the brilliance of the instrument.
  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 certainly give some results of value. It may yet be a candidate for "Strad's Secret". But I don't really think so.
  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 (fb to tp). I then take a sharp, staight-edge knife and, with the blade vertical to the bottom of the foot, scrape down the middle of the foot until the knife makes full contact. I line the knife up using a lamp behind the brdge and knife, and then look at the gaps, if there are any, on the sides of the foot. I make the feet very slightly hollow east to west, and then lick the feet before stinging it up. If the bridge previous to mine has a good height, I will mark where the string notches are, and then trace my arch onto it so that nothing really changes, unless something should change. I then cut the top down using a small plane at first, using long strokes that follow the curvature, that is, not making straight cuts with the plane, but keeping the mouth in contact and varying the pressure to follow the curve I marked. I know that sounds complicated, it really isn't. I finish it up with sandpaper. I then mark the notches with a pencil and file them down. For the e-string, I sometime use a very small snakewood insert, but I normally use a small peice of parchment soaked in superglue and put on with a tweezers. Then, I use the same plane I used before to fit the top, and cut the front, and, to an extent, the back. I could go into a lot of detail behind this, but a previous discussion does this better: Bridge Profile With the heart, kidneys, et cetera, whatever you do, take of very little with each stroke of the knife. After a while, you will get a feel of how much you can safely take off, 'till then, always take off less than you think you should. The above will show you the the basic shapes you can get - but here are some pointers for sound. opening the kidneys out and up, and the heart up will brighten the sound, as will a thinner bridge. Not doing either much, and leaving the bridge thicker will give a darker sound. You may want to cut down the waist a little, but I'll let Joseph Curtin talk about that. <B"><B">http://www.joseph...tudios... violin setup [/L] Good luck! P.S.: Starting out with a very thick blank allows for more freedom with the finished bridge. Some instruments like thick bridges. Others don't.
  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: http://www.violins.ca/supplies...ridges_milo_stamm.html 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.....
  16. Italian Hot Chocolate for 2 servings 1/4 Cup unsweetened powdered cocoa 1/2 Cup sugar 3 1/2 tsp cornstarch 2 Cups milk 1/4 Cup water Mix it all together in a large glue pot. Heat it over medium heat to a simmer, and let it continue to simmer until it has reached the consistency of unset pudding or some nice hide glue. Dark and rich in the low register, brilliant and crystaline in the upper register. The tiramisu sounds good....no pun intended.
  17. And to a man who moderates the unmoderatable. *clink*
  18. Collin


    He will be well remembered.
  19. Collin


    Craig was one of "those" members - those who just aren't satisfied with contributing a few thoughts here and there, but instead post a lengthy monolouge of all the thoughts bouncing around inside their head.
  20. Mine was when I was 13. There was a dust ball in my violin, and I wanted to take it out. I used a small tweezers, and when I was done, I noticed that the soundpost was slightly andled. I (carefully) grabbed the bottom of the post and nudged it over. It fell down. I procured a makeshift setter out of a wire. I got it up - but took it to a pro nonetheless.
  21. Falstaff summed it up pretty nicely. If you want projection, you want a more nasal sound, which would be achieved by making the "belly" (directly below the heart) a little bit thicker. Martin Schleske covers it in detail here: Tonal Color and the Resonance Profile
  22. quote: Maybe it should be a double-dotted 16th note (b flat) - unless that smugde in the manuscript is a double-dot? But maybe that convention did not exist in Bach's time ....... any experts on that? I, personally, doubt it. Leopold Mozart was credited with the "origional" double-dot. I wouldn't be too suprised if the idea crossed Bach's mind, however.
  23. quote: Never, Never, Never use on bear wood. After using you have to be anal about cleaning the fiddle. Or just use a gummi eraser. Mafio's idea, I belive. Be carefull with porus woods, though.
  24. Bach later, Offenbach sooner. What's the difference beetween a violin and a viola? (a) the viola burns longer ( it holds more beer This one's really funny in german, but doesn't translate well: Was ist die drei lagen auf dem bratsche? Erste lage, notlage und niederlage. translation: What are the three positions of the viola? 1st position, emergency and defeat. and for you theorists out there: http://www.classicalarchives.com/fun.html
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