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. It's not clear to me how big this piece is, and whether the backs are 1-pc or 2-pc. A ruler in the photo might help.
  2. I can't advise on a better layout, but some words of caution: -Be sure you know how much kerf your resaw blade has, and allow for it -Allow for some blade wander, wood warping All of the above make you end up with a thinner working thickness than you might have planned. I too try to squeeze as many sets out of a slab of wood, but sometimes it is better to get 4 pieces with good thickness than 5 pieces that are too thin.
  3. Yes, that low-density stuff is like a sponge on the endgrain, which is why it needs a couple of cycles of glue/dry sizing before gluing on the plates. If you try to feed it glue on the first shot until it stops soaking in, you might fill the whole block up with glue... so you need to give it a little bit and let it dry, then repeat until it's sealed. For gluing on the ribs, the block surfaces are radial or tangential cuts, which doesn't soak up glue even at that low density.
  4. Don Noon

    neck back ribs

    I prefer neck wood on the high density side, for several reasons. Stiffness and strength are closely related to density, and I'd rather have necks that don't bend/warp, less chance of heel cracks and pegbox cracks, less wear on the peg holes, and I can safely make a thinner neck. It's harder to carve, but I'd rather have that other stuff.
  5. I do the concave thing and use extremely low density spruce (~.29) for the corner blocks. The corners move a lot in the CBR mode, and I want to keep that frequency high without resorting to more stiffness in the plates to do it. I wouldn't use this low-density wood for the endblocks, where I think mass and strength are good things.
  6. Shorter focal length makes things closer to the camera look much bigger. Longer focal length equalizes things. If your point-and-shoot camera has a zoom function, try moving the camera farther away and zooming in.
  7. I can't say I'm surprised by that result. Congrats!
  8. I use casein/ammonia on the inside of my instruments too, not only for the stiffening effect, but to avoid pulling off spruce fibers with the tape I use to fit the bass bar. For folks who put chalk on the wood (I don't), the casein ammonia prevents a lot of the chalk from getting embedded in the wood. For external use, the casein/ammonia seals the wood to some degree, and I think can give a washed-out look to maple if put on too heavily. Borax can be added to help dissolve the casein, as well as the somewhat similar sodium octoborate. As a possible side benefit, these are bug killers.
  9. Don Noon

    Tartini Tones

    Most of this Tartini tone effect is basically a beat frequency, where frequencies very close together give a tremolo effect. If the frequencies are far enough apart, then the beat frequency gets up to where it is perceived as a separate note. FFT shows two distinct frequencies, time history shows a modulated wave... but it's all the same thing, looked at (or heard) different ways.
  10. Based on what? It sortof looks like a reference to impedance matching, which is fine for maximizing power transmission in electronics... but I think there's a gap in logic assuming that power transmission from string to body is best when it's maximized. The important thing is: how does the player feel about that? Is the power taken out of the string too quickly, or too slowly? (And it probably matters a lot what frequency you're talking about).
  11. I'm sure it would significantly reduce the market value, which is why I use a fiddle where the market value can not be reduced. In any case, the experiment was sufficient in my mind to indicate that it would be unproductive to nitpick saddle height hoping for some performance optimization.
  12. ... over a sealed surface? Unless this mixture has color of its own, wouldn't it be reacting with the sealer, and not the wood?
  13. While I do like the concept of a separate structure to carry the bulk of the string tension load, I have too many things in front of that experiment right now. There remains some hope of using a response plot and modal information to infer what a maker might do to the structure to tweak the response one way or another. That won't do a whole lot of good unless the response plot can be connected to what players (and listeners) care about, which is ongoing research. All of that can be short-circuited by tons of trial and error, or sponging off of the experience of other makers, to find out directly what in the structure does what to the response/playability/tone. The problem there is that there are infinite opinions and inconsistent results. Choose your path through the dense fog.
  14. At the most basic level, I think you can get rid of overtones by using fresh, sappy wood and plenty of fat oil varnish. To get more overtones, do the opposite.
  15. I am not one of those "all", particularly when the words "perfection" and "improvement" are used. I'll use the hummingbird analogy. They have evolved to function amazingly well. But, oddly, there are many different types, with different features and capabilities. There is no single "perfect" hummingbird. I view myself as a gene splicer, trying to understand how the features are related to the genes, with the idea of creating a critter with the combination of features I want... and maybe with a little more power and speed. Not everyone would call them "improvements", as it depends on the observer. Purists would just scream "Frankenhummer!" and get out their torches and pitchforks.