David Beard

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    : Santa Barbara, California

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  1. Does anyone know if the Giralamo II Amati cello Bonjour is uncut? 1690 739mm
  2. I very much agree on focusing this idea of surfaces meeting. And, the use of a 10x loupe and strong light to see what's going on. As an aide to seeing progress, I also often blacken the surface I'm working. This can be helpful, but not always. The loupe is more certain for confirming things. I also distinguish between the different tasks of making the two surfaces meet well at a good angle, and making those surfaces very smooth -- between sharpening and honing is how I think of it. I think working the surfaces truly is much more important. I do like also getting the surfaces
  3. One dimension parameter tend not to have simple meaning by themselves on a violin. Consider instead of just the height, the whole cup shaped area created by thw arching? What area of the plate has been given an overall cohesive downward dome like shape, all concave on the inside? This area can vary considerably. But it never depends just on the plate height. It also depends on how quickly the long and cross arches come down. Or, in a different but related way of thinking about it, the area depends on how wide the channels are, and where convextivity changes. Few things exist
  4. Thank you for posting and sharing. I always appreciate your work.
  5. It was and remains a perfectly good romanticized picture of violins from the view of an enthusiastic amateur looking from the outside via a 19th century English trade perspective. Not to be taken seriously as a guide to either good making, modern making, or historical making. But is a good book to spark or fuel budding interest.
  6. Don't get me wrong. We do have plenty of serious discussions. And, I'm generally very grateful the MN is here as a resource. Still, many threads go tediously astray.
  7. It's just gotten too difficult to have an extended conversation of actual ideas on MN. Every thread devolves into squash jokes and STLs.
  8. Classic you. MMMFC. M -Marty's M -MN M -Mind F -fk C -Comedy
  9. This isn't really correct. The iconography shows a rich mix of both approaches. No overhanging wasn't predominate, just in the mix.
  10. I would look first to the history and evolution as the main reason. In paintings we see lots of various instruments were tried before we get violins. At a fairly early stage, we have a highly varied family of plucked and bowed 'vielles' with many different body configurations, and many arrangements of soundholes, mostly of circle shaped and either open, covered, or partially covered. Most seem to have distinct back and front plates and sides. Many of these early vielle type instruments already show over hanging edges. After all, if your basic form has separate plates and si
  11. Stubborn, huh. Consider a cross section of rib and plate edges at right angles to the rib surface. The plates sit across the top and bottom edges of the rib. The overhang extends to one side, the flat of the plate to the other. The plates make T shapes at both the top and bottom edges of the rib, with one side filled in with lining. So, overall the rib + plates make an I bar cross section all along the sides. This contributes to the huge difference in the very high pliancy of the sides to motion at 90° to the rib surface and 'in plane' relative to the plates versus a much lower
  12. The first answer is that the tradition evolved that way. There are likely many motivations behind that evolution, including Jacob's suggestion. Also, a plate edge and ribs then join in a 'T' shape, giving an overall 'I' bar shape to the ribs. This kind of shape gives increased stiffness to weight, particularly against motions out of the plane of the plates. The curves and corners of the bout shape also do that. So, out of plane stiffness in the sides seems to have been valued in the evolution of the design.