Bruce Carlson

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  1. Are we looking at a one piece neck and upper block? Sometimes called a 'through neck'.
  2. Mr. Zuger, I think the real question is, "Why do you insist on discussing these papers on a public forum like MaestroNet when the papers are not available to the members of that forum without spending approximates 35$ each to have them?" The papers in the Journal of Cultural Heritage are distributed and protected through copyright by the publisher Elsevier. I never said that the ribs are rigid as you can see in this part of the second paper published in September 2012 in the above mentioned journal, entitled: Measurement and modelling of mass and dimensional variations of histor
  3. Zuger never got it out of the security display case.
  4. Mr. Zuger, Plain and simple, for me to visualize how the belly and back move under string tension I prefer a different point of observation than you have chosen with the soundpost. An elaboration of the deformation using the soundpost as the point of observation would difficult to say the least as it would have been impossible to clamp the Cannon the way you did in your holding device. The ‘Cannon’ being an older instrument stabilizes under string tension after 1.5 to 2 hours giving us ample time to take the second scan. Once the tuning stabilized under playing pitch we could proceed with
  5. In the diagram I am referring to from the paper posted above, the violin was not clamped in any way and was resting on a red velvet blanket similar to a violin blanket from a case. First a computerized 3D scan was made of the entire instrument without strings. After this scan I set up the violin and tuned it to pitch (A 440). It was left thus for a time and every now and then it was retuned until the instrument stopped detuning and was therefore stable. At this point, a second 3D scan was made. The computer elaborated the data from the two scans to demonstrate the deflection of the tuned violi
  6. This study was necessary to collect firm data rather than relying on faulty intuition or hypotheses based on subjective opinions, such as we have been seeing in this thread. It's not a paper I necessarily need to improve my violinmaking. The diagram I find most interesting is the left hand diagram, second row down, which is the difference in measured deformation between the violin at rest without strings and the violin tuned to concert pitch. Each instrument, because of a whole series of factors, will move differently but, if it is a conventional violin, it will deform in a similar manner.
  7. If it is on a relatively inexpensive instrument you can, in this case, open the back seam from the end block to the corner block and if the rib is flexy enough you will be able to redistribute the rib protrusion over the entire length of the bout. You will end up with a slightly narrower edge overhang. Obviously if the difference is too much other more drastic solutions will come into play. Once you have it clamped up and ready to glue you will have to remove only one or two clamps at a time to insert glue and to maintain your planned edge margin. At times I have opened the entire lower bout a
  8. is it possible to have a straight on front view and a straight on side view of the volute (scroll)? Thanks.
  9. The ribs appear to be let into the back.
  10. I suppose in Nashville any fiddle that resembled the one played by the great Vassar Clements would be very saleable. Vassar Clements fiddle
  11. What about the other 90 instruments that were in the shop? Perhaps not all new. The Cremonese varnish becomes particularly striking when you have wear and usage.