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Don Noon

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About Don Noon

  • 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. I definitely know Tony, and he was the first violin maker I visited to see his method of making instruments before I made my first one. Great guy, still going strong at 90++ (and just celebrated his 70th wedding anniversary!).
  2. The key to its survival for the last 40 years has been Bill Barnitz. Here's a few lines from his message: This year, 2022, is my 40th year of guiding this Association. Rather than see our group struggle and strain in such an undesirable condition , I feel the proper thing to do is formally close our doors and be proud of the many things we have been able to accomplish since we started back in 1958. Bob Wallace and his friends had a great vision of a violin makers group when he and his friends started this Association. That was 64 years ago. I have only been going there every year for the last dozen years.
  3. I just got the email notice that VMAAI is shutting down. Dang, it was a great competition to hear all of the instruments being played, and hear the differences for yourself. However, I fully understand the problems of declining attendance and membership, and the increased cost of travel and hotels adding to the difficulties. SCAVM died some years ago from the same disease. In a way, it's a slight relief... so I don't have to tell them that I wasn't going to go this year, since it's a VSA competition year and I only have one violin to enter. Anyway, thanks to Bill Barnitz and all of the other volunteers that kept the organization going for so long.
  4. Why do you need it dry? I thought it was only used in low percentages, dissolved in water.
  5. If you're talking about the top grads, that's pretty extreme variation. I started out with a similar graduation concept (thin cheeks and edges... the "speaker cone" idea), and generally found it to be loud... but with the excessive and unpleasant midfrequencies that you describe. I don't do that any more, and use a hybrid of what I see in Strad/Guarneri patterns. But arching probably matters more.
  6. Strong peaks in the "transition hill" range (mid-tones) is what I listen for when trying to tell if an instrument is new or very old. The peaks seem to even out somewhat over time, even on new ones. Also, a weak response in the higher frequencies will allow the mid-tone peaks to stand out in painful relief, which also is often a characteristic of newly made instruments. So I think we're talking about tonal balance of a violin, not anything specific to a 5-string. And IMO it has to do with the details of the arching and graduations and bass bar, not a simple thick/thin choice. Perhaps something can be done with adjustments, but I would expect that to be very limited. 5-string fiddles should have a pretty nice C string, as the C# air mode will give a strong first overtone. I assume this is a newly made instrument, and I'd give it a few weeks or months to settle in before doing anything drastic.
  7. I have also seen a burn-in effect due to extremely deep flame, where the grain turns near perpendicular to the surface. Even though it may not be burnt with color, the appearance remains fixed over any normal points of view.
  8. Ankles on a bridge blank usually need to be thinned out quite a lot... you could thin mostly on the outside, and adjust the effective ankle width narrower.
  9. Adding a mass to a pegbox string is something new to me, but since there is some movement of the peghead in the B1+ mode, it could work, in theory. The general theory is that the string/mass in the pegbox needs to be tuned to the wolf frequency to work, similar to a wolf eliminator mass added to an afterlength. But the afterlength version I think is more common, and definitely should be more effective. But "effective" might not be so good, as the eliminator takes some time to build up amplitude to do its thing... so there are odd transients. You could have an instantaneous wolf, and then de-wolfs as the eliminator builds up, and then an after-ring when you stop playing. I messed around with these, and generally found that the cure was worse than the disease. The other type of wolf eliminator... a mass stuck somewhere on the plate... works differently by adding mass to a high-amplitude area of the plate. It can work, but is more likely to have side effects. The cost some suppliers charge for these is ridiculously steep in some cases. You can test out the effects either with a small blob of tungsten putty on the appropriate string location, or in the second type, get a couple of small neodymium magnets (one outside, one inside) and see where they work.
  10. I just measured a few of the "42mm" bridges I have, and the distance between the center of the ankles runs between 30 and 32 mm. So it a bass bar is 16 mm from the centerline (is that to the inside, or center??), I'd say the alignment isn't too bad. The ankles is where the force comes in, and the feet just spread it out.
  11. For new making, it certainly makes sense to have a general standard. But in the case of an existing instrument, where the bass bar is already there and closer to the centerline than standard (which is the specific OP question), there are two choices as I mentioned... either give up on the "standard" 42mm bridge, or change the "non-standard" bass bar. Going with a narrower bridge... or even a 3/4 bridge... would be far preferable, as it is reversible. Changing the bar depends a lot on the skill and experience of the luthier, and IMO wouldn't be a tranformative improvement anyway. Could even be slightly worse, but hard to say anything with confidence, especially without knowing the other construction features of the given instrument. In any case, the soundpost should end up where it works best, rather than any precise symmetrical dimension.
  12. There may be good underlying acoustic reasons why the bass bar is aligned (mostly) with one bridge foot and the soundpost is aligned (mostly) with the other foot. But beyond that, imposing rigid symmetry just because there is a "symmetry rule" seems arbitrary to me. The soundpost should go where it works best for the player, which is the ultimate goal. For the OP question about narrowly placed bars... use a narrower bridge would be #1. If the F eyes are wide enough and you want to put in the time: new bar.
  13. My one attempt to decarboluxate copal was more like carbonization. It went from rubbery to charred. I have had much better success with pre-run copal, but WFE doesn't carry it any more.
  14. Both upper and lower blocks are similar... thin and wide. My guess is that the idea is to get a larger vibrating soundboard area with a smoother shape. You can wave arms about whether it's strong enough structurally or if the sound would be better or not. I can't say anything with much certainty, as you just have to try it and see. My armwaving is that the sound won't be significantly better or worse (depends a lot on how you graduate the plates at the blocks), and it will probably be structurally stable at least for a while, if the glue joints stay solid. Longer term, you just have to see what happens... but it does seem less robust than using a larger block.
  15. I'd think an electrical resistivity test would be good to detect salts in water.
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