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Don Noon

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About Don Noon

  • Birthday 03/20/1952

Profile Information

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

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  1. Go with shelves, posters, tool racks... the paint behind them won't matter.
  2. Only if it has moving parts and motors, then it's fun. Electric teakettles, nah... especially when they're so cheap.
  3. I know that I experimented with cutting eyes inward at various distances on an experimental fiddle, but unfortunately I can't seem to dig out the results. I seem to recall it didn't do as much as I thought it might. In any case, narrow eye spacing limits how far out you can place the bass bar and where the soundpost can go, and if you use a wide bridge, you could end up pushing down the inner wings. For at least practical reasons, I prefer 42mm for the spacing and the bridge width... and also use relatively wide C bouts so that the F holes don't get too close to the edge. I imagine that a wider C bout gives some more strength to the signature modes (since amplitudes are highest around the middle), but probably only a fraction of a dB.
  4. I don't know why in the world anyone would go to the trouble of modifying something to get steam when you could just buy something with a hose connection for under $35 that generates steam, with variable heat...
  5. Look for "steam generator" on Amazon or eBay. There is a ton of them, primarily for personal-sized steamrooms. Cheap.
  6. It looks nice, and it works.
  7. I certainly will... when plate benders start hogging all of the top VSA tone awards.
  8. Even then, if the maker is truly consistently great, it won't matter if they have bizarre superstitions. You can discard those later.
  9. Nope. Too much thinking. More building. The building (and evaluation) will give better context for things to think about for the next one, and more background to observe what you can when handling good violins.
  10. I imagined such a thing as well... when I started about a dozen years ago, and tried all kinds of measurements. And at this point, my conclusion is that none of it really helps all that much, and is mostly a distraction. Wood, arching, reasonable graduations, reasonable plate weights, and years of experience are the important things to me now. If I saw a way around that (other than living in the shop of a great maker), I would say so.
  11. In playing around with my 3D printer, I made a bunch of different bridge designs, which at best sounded bad, my guess due to excessive damping in the material. I'm a bit of a skeptic about any plastic being "lighter and stronger" than wood, in addition to the damping concern... in addition to the whole design and concept.
  12. I run a Pandora mix of classical, bluegrass, and various acoustic music in my shop. Favorites would have to be Russ Barenberg (who I met at college), Jerry Douglas, Allison Krauss, and Sierra Hull, among other.
  13. Flipping one half works to make the crossgrain off-quarter more symmetrical, but I agree that longitudinal runout can't be re-aligned by flipping the long way... only the short way, if you have a half that's thick enough to do that, and if there's no twist to screw it up.
  14. For some modes, it might be; for some definitely not. It is slightly like my idea of supporting a plate at the endblocks and pushing in the middle to measure absolute longitudinal stiffness, and then at the cornerblocks to measure crossgrain stiffness. I found it to be somewhat better than taptones for predicting B1- frequency... which matters not a bit. You have to ask the ultimate question: suppose you glue the top and back plates on the ribs, with neck and everything, and make whatever measurements you can... do you now know how to use that information to make adjustments and go from OK to fabulous? That's what modal analysis, instrument spectra, and regraduation are all about. Sure, with a brick-like student instrument, you can make it better... but once you get sortof close, I haven't seen it do all that much. If you can't show that this level of assembly can help, stepping way back to tuning the free plates looks pretty hopeless as a valuable tool.
  15. Quite often there is twist in tree growth, making things a bit of a pain. The important part is getting the central area as runout-free as possible, which will mean runout at the edges of the bouts.
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