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About go_oa

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  1. go_oa


    According to Google - cordal = tailpiece !
  2. go_oa

    New Eyes

    I had my eyes done (cataracts) about 10 years age. I got single vision, not muti-focus, lenses designed to focus at about 3', computer screen distance. I use auxiliary glasses for driving and reading. After the surgery, that removed the yellow filters I had been living with, the world was much brighter, colors were more intense. I could do most things without glasses. My eyes were equal for the first time in decades! After about six years, astigmatism arose. But not bad. The only question I have is why did I wait so long!
  3. I can only say that my Leopold CF violin bow has been wonderful. I have used occasionally with my 18" viola with NO problems. A carefully made CF bow can be very good. A carefully made pernambuco bow can be very good. The maker makes a difference - NOT JUST THE MATERIAL! .
  4. Ooooo. Long ago I bought a violin. The final two were a Poggi and a Palliver. The Poggi had a weird sound one one double stop. Otherwise the same. So I picked the Palliver. Which has only appreciated 10X since then!!
  5. It had been brought to him by a colleague who owns a shop in Spain who had asked him to cut it into bow blanks, thinking that it would probably be a fine bow wood. It is famous as an archery bow wood. Not as dense as Pernambuco. Beautiful wood. Worth experimenting with!!
  6. go_oa

    Small Viiolins

    I can only say that after a couple of decades playing a half size alto (18"), It is a satisfying instrument! And I have played some really nice 1/4 and 1/2 size fiddles that have a lot of the sound of a 4/4 violin, although there is less volume. A good sound is possible for 1/4 size (11") violins.
  7. go_oa

    Small Viiolins

    I keep the computers running for a Houston luthier. And demonstrate violins as needed. 1) If you accept Hutchins scaling, then the ideal viola is 21 inches. And the standard one inch difference between fractional sizes becomes one and a half inches. So my 18" Viola is half size. And the "normal" 16.5" viola is quarter size. So you cannot make a 1/4 size violin sound good! Hmm.. My luthier can make 1/4 size violins sound good. 2) As a practical matter - we sell student level violins on a three year rental purchase program $15 a month - $50 to upsize. If you are talented, a really good sounding fiddle at 3 times the price. And we have good sounding instruments from 1/4 size up. This is a strategy that has worked for decades.
  8. New Materials: My favorite new wood product is made be the company Ecovative. It is not ready for prime time yet. Starting with straw. Let mushrooms grow in the straw for a while. Then take the partially 'eaten' straw, squash it to the shape and density you want and bake it to make a final material. The current process creates insulation and packing materials that are compostable. With careful interventions at the every stage of production I can see useful molded violin parts as a possibility.
  9. Carbon fiber Cellos have been successful. Carbon fiber Violins, not so much. The fact that wood is a foam, means that it can be thicker/stiffer for the same weight. That seems to be important, at least for the violin pitch range. Squeezing the air out may work for cellos and basses, not for violins.
  10. The body length of violins is 14 inches, 35.5 mm. If the body is 15" it is a viola, no question. One suspects that 14" came from the strength of Italian sheep gut. No one could make an e string strong enough to work with a 15" body. Now we have much stronger materials for strings. Has anyone tried a 15" violin with modern string materials. Did it work?...
  11. As theoretical person who plays and thinks about violins, the question of what wood is led to this peculiar formulation. It appears to me that damping is a very important part of the wood properties. And included porosity in wood is only discussed implicitly as density. Thinking of wood as a foam has helped me when thinking about violin graduations. So: Wood is a lignin foam with cellulose fiber reinfocement, and hemicellulose filler. And the fact that it is a foam containing a lot of air is important to understanding how it works in violins. The nothing is as important as the something!
  12. Each violin is an individual.. If a violin has a sibling, It may be different! Given two violins I can choose the one I like better, or declaire them the same. To choose a violin - pick two violins - play duets to select one. Discard one, try another. Play duets -- soon you come to an end - either buy the winner or take it to compare at another shop. Do not look at the label. Stop when the price gets too high. Talk to the luthier as you do this. It might help! After a year or two, you might do it again!
  13. My super cheep viola ($70 in 1963, but hey that included a case! - was coming unglued, so, as long as it was open, why not carve a little. After reassembling, about 100% better. Then later I heard about 'Hole in the Heart'. Drilled a hole and cut a chopstick as an extension - About 100% improvement. So you have a VSO. Are you willing to value it at $0.00 and trust yourself to do something. Whatever happens - you will learn things about yourself and violins!
  14. What you need FIRST is a quick, easy, cheap method for identifying EVERY VIOLIN Plate. Think fingerprint. Think 100 million violins.For each identity, there would be an attached file to contain history, transactions, pictures, etc. The identifying datum needs to be more than 30 bits in length. Something not easily changed. Probably a function of the grain somewhere well defined and easily accessed. The database needs to be internationaly accessible, and secure. The information needs to be in a standard format yet with freedom to cover unusual cases and easily updateable. And extendable to violas, cellos, basses, guitars, etc. An interesting technical problem. There may be some Austrian Banks interested in looking at the problem.
  15. The energy E that a moving body has is equal to one half the product of its mass m and the square of its velocity V: E = 1/2 m V^2 etc.. 1) The problem is that the VAST majority of energy put into a musical instrument is immediatley converted to heat, NOT SOUND. A musical instrument converting 1% of its input energy to sound energy would be LOUD. Improving the conversion of Bow Energy to Sound Energy would Greatly improve the power of an instument! 2) The aerospace industry has worked the strength/weight problem HARD for many years. The solutions so far replace material with air. A light strong panel has Thin Strong Skin and a center that is mostly air but connects the upper skin to the lower skin. Translation in Autos - Balsa wood core (Grain-Vertical) with a fiberglass skin (Horizontal). 3 mm too thin for core ... Foamed Fiberglass -- Not the current thin carbon fiber -- Foamed plastic connective-- Strong fiber skin -- How do you keep a thin layer of fibers separated from another thin layer of fibers with a plastic foam between, and the whole business 3 mm thick. My simple ignorant mind has not solved a way to manage this. Foamed fiberglass is far left field! Note that natural wood structure is long oriented cellulose fibers stuck togeather with lignen and contaminated with badly structured cellulose called starch, pecten or hemi-cellulose. (Sugar polymer) ...