David Beard

  • Content Count

  • Joined

  • Last visited

Everything posted by David Beard

  1. Wow. Just, wow. Posts are meant to be movable, adjustable, and replacable. Violins are meant to be good enough to merit the trouble. If a violin is so bad that you don't mind gluing or nailing the post in place, then go ahead. Glue and nail that post in place. Then finish the job by tossing the violin in the trash bin. Or, paint the whole violin in a cute way, cut it open and install a litlle shelf. Hang it on the wall as a cute display for small items.
  2. Do we have any idea what was gained or what motivated this makeover? To me, I experience this as a step backwards at many points. I'd like to learn that I'm wrong, but I'm just not seeing any upsides so far. And I keep experiencing a growing number of small downsides.
  3. Except they didn't use dowels to clamp, but carved well fitted counter forms in a style just as distinct and meaningful as the molds.
  4. Using the trace of the sides while still on the mold will reduce the degree of asymmetry and corner movement compared to what is seen in the historical instruments. Roger Hargrave presented this idea of twisting and aligning the sides using the pins in his article, sited above. The first layer of evidence is that this theory gives a good understand of how and why the corners get pushed around so much in classical instruments. But then, my research over the last decade plus has been about the use and presence of geometry in the shapes of classical work. I found that t
  5. This is still in editing, but I'm preparing several videos for a new YouTube channel about reviving old Cremona methods. This video discusses the relation between sides and final outlines in old Cremona making. https://youtu.be/-RTwd22p8pY
  6. Grove for ribs sounds like 'built on back', which has nothing to do with classical Cremona methods.
  7. Pins help you to easily return to the same alignment between sides and plate. For old Cremona making, they had the additional role. Their plate outlines weren't copied but design during the build, reconciled to the disposition of the sides on the plate. The sides and neck assembly could be twisted around the pins to get a good alignment, and the sides could be pushed and pulled around a bit until the maker liked their arrangement. This was temporarily clamped in place and the disposition of the sides was marked onto the back's board. Then the sides and neck assemby were removed so the
  8. Why....... This keeps popping up in amateur butcher environments like FB groups, but on MN? Makes me sad... Should we talk about plate tuning to a mystic A432 now?
  9. Well, there could be side effect tells if we're luck. Some Strads show bulging mid rib from pressure against the thin inside mold. If such a thing were found with Lupot, ot would be very strong evidence for a similar thin inside mold.
  10. Yes. These sides seem to suggest an inside mold, but aren't necessarily conclusive. If he did use an outside mold but manipulated for this result, the motive would be to imitate Cremona structural detail.
  11. Next time I play the top of my violin without sides, a body, or strings, and use a hanmer instead of a bow, I'll remember it's a bell.
  12. Big difference, we strike a bell but drive a violin. Also, bells are much stiffer both in materials and in geometry. A violin is not a bell, nor a marimba.
  13. Even with complications of stiffness, boundaries, and geometeic shape, I believe the standwave patterns that set up from a drive can be viewed as mutations from the simpler scenarios. Also, a violin doesn't just set up standing waves on the plate as a diaphragm. It will set up waves in all the most readily avaialble ways. And that will include comparatively simple compression modes of the air mass inside the body, and 'swinging' modes of some masses of the body. To me, it's more interesting to think closely about these dynamics of the final state of the instrument than to worry muc
  14. Also, if the imperfect elasticity of a medium causes the modes that divide the mass into parts to sound pitches that are not in tune ideal harmonics, still the naming of these isa question of semantics rather physics. You could say they are 'not harmonics', or you could say they are 'distorted harmonics'. The situation is not changed either way. But, to me, 'distorted harmonics' reflects more of the physical facts of the situation. And 'not harmonics' seems to push away from something actually true in the situation. 'Not ideal harmonics' would be more accurately communicative to me.
  15. I'm trying to open a discussion on a behavior of driven standing waves that is closely related to natural resonances. You're blocking any such discussion with general ad hominem and pointless entaglement over language.
  16. Alternate definition are part of pursuing new or variant ideas. And, in such efforts, it's common enough to use variant definitions of language where the new or variant idea parallels the orthodoxy. In math for example, 1+1 generally equalls 2. But it turns out to be powerful, interesting, and even useful to explore variant math systems where addition is given a variant definition. In some of those systems, 1+1 is defined to equal 0. And, they still call the + opperation 'addition', even though it's been given a alternate definition. This particular example of a consistent ma
  17. I am not talking about the resulting pitches, but about how the mass in question is roughly divided in parts by the standing waves. These set up in some integer number of parts of the mass. The divisions of the mass into standing waves will roughly correspond to 1/2 cycles of the mode frequency, except at open boundaries where it will be 1/4. Where the q of the mode is high enough for there to be a corresponding natural resonance, then the standing wave pattern will correspond to a mutation of that mode's natural resonance wave pattern, but pushed to the driving frequency. And, this c
  18. What part is nope? Are you saying an air body that can be driven into a standing wave a one pitch can't normally also be driven into two standing waves at thw octave, and three at the ovtave and fifth? Are you saying 'nope to that physical fact? Or are you saying 'nope' that I don't care what you name the relationship between such modes of standing waves? What are you saying 'nope' to?
  19. The wording game doesn't matter to me. The point is that if a whole mass has a mode were it compresses or flex as a whole, it will also have related modes where it moves in halves, thirds, fourths, fifths, sixths, etc. I'm happy calling that related family of modes 'harmonics', or 'zoomics', or whatever. It's the underlying idea that matters.
  20. When thinking about driven resonance I think we can generalize the notion by thinking about the physical division of the mass for the particular mode. So, when a standing wave sets up in air mass and divides the mass the same way the 2nd partial of the natural resonance would, I think we can still talk about this as a harmonic, even if the drive has pushed the pitch to different value.
  21. In terms of historical context, that seems a truly excellent guess.
  22. Yes. My wording is bad. Each mode is just a mode, even though each will be in family of harmonics that use different divisions of the same mass and the use the same flex. Thanks for the clarification.
  23. In total, no. Just as you say, each part participates in many modes. However, each individual mode is that simple. Each is a particular limited mass flexing in a single particular way as its fundamental, and then the mode also has harmonics. And, when any standing wave sets up in response to a drive, it can be viewed as a natural mode pushed off its pitch center to follow the drive.
  24. I'm not a tap tune person, so I haven't explored that yet. But I am curious about that now. My first guess is that when assembled the central back mass helps provide a resonance supporting the A string. But, I'm just guessing. Normally, I'm much more interested in thinking about the many diverse ways the instrument will move and twist when driven across the full range of frequencies. But I am growing curious to understand which physical modes most directly support each open string. I've not experimented yet, only considering the question. First thoughts are that like can
  25. And, it's deliciously perverse that the old Ashmolean poster shows French blocking! The claim is that that detail in the poster is just a goof.