Don Noon

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About Don Noon

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    It ain't rocket science... it's more complicated
  • Birthday 03/20/1952

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  • Gender
    Male
  • Location
    Carlsbad, CA
  • Interests
    Acoustics
    Violin construction
    Varnish
    Old-time fiddling

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  1. Plants make wood, and so far it doesn't seem we've done too well at getting ahead of that for making instruments. Wood is good.
  2. I don't need to get any further into the quagmire of what adjectives mean what about tone. I've gotten in too deep already. Just leave it as the Tuscan isn't my favorite sounding violin. Nor is it my least favorite.
  3. I did NOT say it sounded like cardboard; I said, "To my ear, it has the beginning of the cardboard sound" , and then later said that the adjective "woody" is probably more appropriate. I don't like woody. That has NOTHING to do with whether most people think it's fantastic or not, just my personal preference for tone. I might not have fancy audio gear, but I know what it does and what things sound like on it. If you want to hear other recordings of that particular violin of mine that I posted earlier, go to the violinist's youtube channel and listen to anyting 2017 or later. Some of t
  4. I suspect figured maple is used 'cuz it looks cool, and the longitudinal/crossgrain stiffness is way different from spruce. If it was the same, I think you'd tend to get one honkin' huge B mode instead of the split B1+ and B1-.
  5. I never made a slab back on anything, ever. The one slab experiment was a slab TOP on a violin... actually this same VSO testbed that I have the MDF back on now (although I have put on several different tops since then).
  6. Perhaps because I have never used a slab back, and therefore have no real answer. Just theoretically, with the slightly lower crossgrain stiffness, mode frequencies might tend to be lower... unless you made the back thicker to compensate. There would still be a different cross/longitudinal stiffness ratio, therefore different mode shapes, even if the frequencies were the same, and I have no idea what that might do.
  7. Yes, I could... but I can't think of any reason WHY I would want to do that. This test has satisfied my curiosity, and only took me one hour to pull off the back and glue on the new one (but several hours diddling the data and posting on MN).
  8. Having fooled around with bracing and such in the past, I remain skeptical. In my view, non-uniformities in plate stiffness tend to also result in more non-uniformities in the sound spectrum, usually not good. If done well, maybe they can be not-too-bad.
  9. I'm pretty sure it would work... but you might not like the side effects. A0 would be weaker, and the wolf on the A string would likely get a bit worse. And all the other unpredictable tonal effects and perhaps feel.
  10. In this diagram, with horizontal string vibration force S, solve for the vertical components at the Bass and Treble foot.
  11. 1) With reduced crossgrain stiffnes and normal longitudinal stiffness, slabcut will be more ANisotropic. MDF is isotropic, the same stiffness both ways... compared to maple, it's very low longitudinally, but about the same crossgrain. 2) 60% loss of modulus is a huge number, especially if it is longitudinal where the cellulose chains are mostly oriented. I think aging affects the softer components first, and that would show up in crossgrain stiffness before much happens longitudinally. No study that I am aware of, just implications. In hydrothermal processing, it is clear tha
  12. In theory, the Helmholtz motion of the string is in the plane of the bow hair and the bow movement. The way bridges are normally cut, you could only get everything perfectly horizontal (parallel to the plane of the bridge feet) on the D string, close to hitting the A. This is all simplified geometry, and assumes that bridge foot motion is all "vertical". To the extent that mode shapes have horizontal and diagonal movement at the bridge feet (yes, I know it exists), these arguments don't apply as well.
  13. It might surprise you how much the soundpost (and back) move, even at some lower frequencies. If the bowing and string vibration are perfectly horizontal, then it should not matter AT ALL which side the post and bar are on. Only when there is an angle, then it matters. Bowing the G string gets more vertical vibration into the bass bar, and vice versa for the E. It looks to me like the A0 amplitude would be significantly affected by switching, since it is played on the G string and the mode is mostly moving on the bassbar side. B1- is surprisingly symmetric as far as bridge foo
  14. You can hear the scale comparison in the linked MP3 file. I'd say it's more subdued and mellow, more bottom oriented, and a little less even on the E string. But basically it's recognizable as the same fiddle. While high damping might do those things you mention, I think the hidden cost is that the sound out vs. energy in from the player will be reduced, and that's a very bad thing IMO. Most of the response concepts are based on costant FORCE input, but energy matters a lot to the player.
  15. Depends if you're referring to the MDF back or my comment about the effects of age on a maple back. MDF would not be similar to slab-cut maple, as the longitudinal stiffness of maple would be the same, but crossgrain stiffness would be slightly lower than quarter-cut. That is in the opposite direction of MDF, where crossgrain and longitudinal stiffness is the same. My hypothesis about age, where crossgrain stiffness might be degraded the most, might be be more similar to a slab-cut back... but only in stiffness. I think the reduced damping of age would be more important, and would