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About Fiddlemaker5224

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  • Birthday 05/08/1958

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  • Location
    Hammond, Indiana U.S.A.
  • Interests
    4/4 instruments, Hardanger style instruments, CNC tooling.

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  1. I have to agree. If the bridge adjustment fails to correct the balance, the plate thickness between the ff holes is to thin. The Treble side is slightly thicker to gain the projection of the A and E string.
  2. Yes I have done this also, the 1/8" fine band saw blade works just fine. I also use 3M 77 spray glue to put the template on the sheet aluminum. Then on the opposite side of the aluminum, I glue a 1/4" door skin. This way the aluminum becomes mixed with wood shavings and it is easier to vacuum up, and safer to handle.
  3. The F holes are confusing, it looks like someone had opened them up trying to get better sound. I would leave them as is for now. As for the rib repair, I would try to get some material that is a match and make a new rib for the entire bout. Then you can also replace the cracked rib at the end pin. I think it is in the same section.
  4. The top plate will need patches where the material tore out as the top was being removed. The old cleats will also need to be replaced checking to insure the crack is fully closed before you add new ones. There is also a treble side crack from the end block that will need to be cleaned and cleats added after re-glue. Is the large patch where the sound post touches smooth? Contoured correctly? Hard to tell but you have a couple weeks worth of repairs ahead of you.
  5. First thing I would do is to make drawings full size, then a fixture to re-bend the lower bout rib that is blown out. Normally the pieces would be carefully reinstalled with a lamination on the inside. This looks like a German made instrument. Check the thickness of the sides since you have the top off already. The back plate appears to have a cross grain crack. Can this crack be pushed back into place? I would also make a plaster cast of the back, this when lined with cloth will help support the back as you work on it.
  6. I do not think that you would get much for the instrument. The Neck seems to be the only usable part. and that needs new set of pegs and bushings. The case on the other hand seems to be in better condition. You should be able to get more for that. I have seen these necks advertised through different suppliers about 20 years ago. They are Chinese, and carved rather well. The corpus of the instrument is not saveable, as the previous repairs have made it so that no other repair can be made without considerable time and effort. Perhaps hang it on a wall for a reminder.
  7. You do not need to sand, as this will remove varnish. Just use a clean section of a brown paper shopping bag. This will smooth any high spots and burnish the finish a little bit. You must make sure the varnish is properly prepared (no dust or moisture).
  8. I remember you saying that to me once before. But I still tune the plates, sides and neck as the instrument is being built. The fingerboard bridge and tailpieces can also be tuned to optimize the bowed string instrument. Its just a manner in which this tuning is done that differs. The end resualt is still a great sounding instrument.
  9. If it as you say Speculation, then how do the vibrations reach the feet. The Wave representation is just showing the flow path the pressure waves take through the bridge. Not the vibrating modes of the bridge itself.
  10. As previously stated, I simplified the wave representation to get my Idea across. Do you have a reference for the studies you mentioned?
  11. It probably was for gut strings, now that string types have changed. The bridge is also evolving. The main problem I see with the above bridge is that there is not enough mass in the legs through the arms. Perhaps I will have to try that design. Thanks for the idea.
  12. I believe it does, also I think you have the instinctive thought to cut the cello bridge as you do. My question to you is what changes in tone did you hear? Did you use a wood end pin instead of the metal tubes or Rods that support the cello during playing? If yes, did this give you a better tone> Thanks for the input.
  13. Currently I do not have a reliable way of measuring this. When a pressure wave encounters an object that object is set in motion creating vibrations of its own. When the object is shaped like a funnel it acts to concentrate the pressure wave. Thereby causing an increase in energy at the choke point ( thinnest cross section of the arm). Then is regulated at the speed of sound as it passes to the legs. I simplified the drawing of the pressure wave for a better representation. The energy is directed to the feet of the bridge through the legs with a constant speed while having an increased energy output. As I understand the function of the bridge, the above described behavior, is present in all Pressure waves, no matter what medium they are passing through. The bridge is the first vibration filter in all bowed string instruments. The end result is that the instrument is excited through these vibrations creating new pressure waves in the air around the instrument that propagates outward. This occurs in any medium, and we sense this pressure wave as sound because the medium we are manipulating is the air we breath.. Yes I too am still trying to figure this out. Sometimes I feel like pulling out the remaining hair I have left. Always in search of obtaining better sound.
  14. Yes, that was tried. The neck was bowing under string tension. So I tried that as a fix for the wood that was to flexible. Yes I scrapped that old neck.