scordatura

This is a good question. I have a feeling that many makers don't consider this as a variable because they have their approach that does not change unless dictated by the model. Intuitively, I would think that even when the plates are glued to the rib garland there would be a small effect. Some makers don't even finish the edges until after the plates are glued to the ribs.

For my taste, the Vuillaume pegs are the only carved pegs I like. Nice job Melvin.

You wouldn't be talking about Robert "boom boom" Vernon would you? The boom boom nickname came from his big sound.

Good question. From my experience he will answer one up questions here but the info on his site is what it is other than the workshops. The info on the website will get you started though. Would be nice if he did some videos about basic application. I have heard good things about his workshops. Met him once and seemed like a good guy.

Screenshots from Jesus Torres’ presentation. Not sure what is represented in the material properties pic. Can someone clarify?

Was it just me or was the angle of the bass bar in between the plane of the arching and the gluing surface of the top interesting? I was taught (Nebel, et. al.) to set the bar perpendicular to the gluing surface. All three agreed on this approach. Is there any benefit acoustically? I think Sam Z said it was more aesthetically pleasing. Transcript is below. Sam Z is speaking. so anyway i mean i think what joseph said is there is a lot to it which is just it's unpleasing just to clamp something like that you feel like it's going to slide downhill you want us you sort of want to like address it though and that's not a bad principle in our work that they should not be unpleasing but i do like everybody else do it somewhere in between

If you remember what AR said about bridges, he stated that "mass is more important than tuning". I have met Andrew before and have noticed that he likes to make a general statement based on his experience. For instance he said that thickness (thinning) only goes so. After that arching takes over. Sticking with Andrew and playing, I had the experience of him coming to my home with 4 or 5 of his instruments. We were lucky that he had some in his shop for a tune up and some that were just finished. He was very interested in how I play and how he could taylor an instrument to my playing style. He also played my violins. While not a professional player, he plays well enough to get an idea of how they respond and their general characteristics. I think what they were all saying was that the instruments are what they are and they strive to get the most out of them by playing them themselves and then having the player do their thing and adjust from there. I think that in Andrew's case he was as you are saying, overstating for effect. For what it is worth, I think Andrew Ryan's instruments are as good as any made today in terms of sound and construction. Particularly in terms of antiquing.

Davide. I wondered the same thing. Fan Tao and the powers that be must have voted to make it public. I have considered going to the live acoustics workshop in the summer but haven't been able to fit it in.

I was also wondering the same thing.

This may also be of interest. https://youtu.be/leRTaPfEE68 Same author as the Strad article.

I have noticed that Strads have a longer flat region than DG. This is a broad stroke generalization and prone to exception. This makes me consider if a longer flat region makes the arch higher in the bouts and therefore stronger or is a more curved long arch stronger than a flat one. Another consideration is when the end grain comes into play at the ends of the arch. Sooner by a more curved long arch and later by a longer flattish region.

https://youtu.be/tjRrISX33hY History of the World Part 1 - Art Critic

Agreed. Schoenberg also wrote Pierrot Lunaire a really cool piece! Below is a self portrait by Schoenberg.

Love the cubist approach Jordan! Picasso and Braque would be proud.

Be careful of your quips. Charles Pollock, Jack (Jackson Pollock), 1930, pencil and brush and ink on paper, Smithsonian American Art Museum,Transfer from the Archives of American Art, Smithsonian Institution,