Salve Håkedal

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About Salve Håkedal

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    Violin family - baroque and modern
    Viola d'amore
    Hardanger fiddle
    Repair and restoration.

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  1. plate tuning specs ?

    At the other end of the scale .. hmm .. sort of, is a book I read long ago, from Sweden. I've forgotten the name (and I don't worry). He claimed that the best Cremonese makers were utterly pedantic people and every part of the instrument should sound C#. Even when you tapped on one peg you should hear C#.
  2. plate tuning specs ?

    ... I've made 200 instruments ... some with reasonable success ... confusion continues ...
  3. Baroque solid ebony fingerboard?

    You will need make a channeled fingerboard for the sympathetic strings. So you will take away a good part of the ebony and this will make the fingerboard lighter. I don't think solid ebony need to be negative for sound.
  4. Comparing maple and svartor (alnus glutinosa)

    I'm not able to make a nice enough graph from these clips to put here. But from what I get on my computer I see that the high output between 1000Hz and 1500Hz that my knocking test, with a small hammer to the side of the bridge top gives, is gone when the fiddle is played. And these fiddles don't sound particularly nasal to me.. I would love to have someone comment on this, 'cause I might be able to improve my knocking tests? (The first post/graph in this thread is from knocking.)
  5. Comparing maple and svartor (alnus glutinosa)

    Stavanger, I put a link into the post above. Availability could have been a factor for the early makers. But a more modern maker like Gunnar Røstad used alder a lot to. I'm sure that was because he liked it because he also bought german wood like most of us do today. The clips are taken from Folkemusikktimen 2. july this year. You can hear it here: NRK. Folkemusikktimen.
  6. Comparing maple and svartor (alnus glutinosa)

    Clips from Sivert Holmen playing the 2 fiddles. There is 2 pairs of files: alnus-1.wav and maple-1.wav is one pair where the same part of the tune is played on each fiddle. Then another sequence of the tune in alnus-2.wav and maple-2.wav This is uncompressed sound files suited for analysis if anyone should find that interesting. alnus-1.wav maple-1.wav alnus-2.wav maple-2.wav (I see that these files can't be played by people not logged in on this forum. So I also put them here:
  7. Opinions wanted on a odd Hardanger fiddle

    Haha! "Party pooper" .. I saw that on, but I didn't quite like it and was afraid of writing something wrong. But thank you! I didn't want to interrupt anything. Just wanted to tune down the expectations about that fiddle a little. But that's never a pleasant thing to do.
  8. Opinions wanted on a odd Hardanger fiddle

    Sorry that I'm trying to be a "festbrems" (that's a norwegian word that I don't know how to translate to english.. Magnus could maybe help me?). But apart from the woodworm I don't see no reason to believe that this fiddle is very old. Stavanger, I don't think many of the more knowledgeable people about old hardangerfiddles in Norway are on this forum. I don't mean to say that Magnus or american members on this forum - or me, for that matter - know little. But have you tried to make contact with pople like Ottar Kåsa, Bård Rise Hoel, Knut Opheimsbakken, Kjell Christian Midtgård or Bjørn Aksdal etc.? They could be able to give you quite helpful answers! (Eg kan hjelpe deg med å komme i kontakt med dei om du treng det.)
  9. High top arch

    Perhaps. I think there has been some talk about semicircles on this forum. Others can maybe say something about Strad archings. I know a little about hardangerfiddle archings. Most are high and not pinced. With narrow fluting. I attach a photo of my latest which, on the contrary, is quite pinched seen from the side. Arching height is 16mm. Like most hardangerfiddles the table is quite thin but still I think it has ample high frequency response. Maybe due to the "pinched" arching?
  10. High top arch

    Also, you can "pinch" the arching in (at least) two directions: Lengthwise: an early drop from the bridge to the end- and neck-block. Sidewise: from the center joint/line to the edges. The two "pinchings" will perhaps not have the same effect.
  11. Edgework and purfling after violin box closed

    I do as Conor: purfling and edgwork after closing the box even though glueing the back on with the ribs still on the form. Then take out the form and glue in the linings for the top. I understand the attraction of constructing a fiddle with the method that Strad & Co. probably used. I guess that's why I DO purfle after closing the box. But reading this thread makes me wonder why it's so important to so many people to take the rib off the form before gluing it to the plates. What's gained with that? Strad & Co. probably did it to be able to hammer the neck on before gluing the back plate to the rib. But why do it on modern violins? And while I'm agitated..: Those collapsible forms are impressive, but they kind of defeat the down to earth simplicity of Cremona. Why not just do like me and Conor? (Strad would if he'd lived in our times.) Sorry! I love you all.
  12. Trade Fiddle Corner?

    Unfortunately this family tradition was broken, so we don't know his method in detail. But you are probably right. I like your test, Jacob!
  13. Trade Fiddle Corner?

    Here is the corner of a hardangerfiddle made by a 4th generation hardangerfiddle maker, Knut K. Stenkjøndalen in 1945.
  14. Salves hardangerfiddle

    It's debated. Me thinks there were folksy fiddles in norway for a long time like in rest of Europe. The experimetation with sympathetic strings around 1700 that led to i.e. the viola d'amore and the baryton, also led to the hardangerfiddle (with maybe Isak Botnen as the first maker). It spread from the west coast eastward during the 1700-hundreds. It's still spreading. Contrary to the viola d'amore and the baryton that more or less died out, the hardangerfiddle was manageable and created a strong folkfiddling tradition. The playing style connected with it slowly became distinct from norwegian folk music played on the violin. Here's a hardcore young man: Kjellbjørn Karsrud, Springar etter Jøger Sagahaugen and something experimental: Anne Hytta: Draumsyn (Dream vision) and something well recorded: Annbjørg Lien: Kjempe-Jo Kjempe-Jo (Big-Joe) was a brawler. And he was my great-great-grandfather. So beware!
  15. Salves hardangerfiddle

    More about that here: Comparing maple and alder