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scordatura

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Posts posted by scordatura

  5. Balsam Ground?

    in The Pegbox

    Posted

    This really comes down to the sound and playability that you want. I recently played some Nicolo Amatis (small and grand pattern) that were wonderful for solo Bach but could not handle romantic repertoire. It’s the model people.

  6. Proteins in Varnish Systems

    in The Pegbox

    Posted

    1 hour ago, Don Noon said:

    Does anyone else think this is a lame way to avoid glue ghosts... by washing out the natural contrast of the entire violin?

    To be picky, oxidation isn't the only thing going on, color-wise.  Torrefied wood is processed in an oxygen-free atmosphere, so it is not oxidized.  And UV does things too (although I don't know the chemistry of this, or if oxygen is involved).

    True but I would think that unless you are subjecting the varnish to a continual source of UV the predominant exposure would be oxidation. Unless you are playing a lot of outdoor gigs. :ph34r: Albeit at a slower rate than UV would be. Just instinct here.

  7. Proteins in Varnish Systems

    in The Pegbox

    Posted

    1 hour ago, Michael Szyper said:

    IMO It is unlikely that cremonese used annatto as a wood stain. First, it is a positive stain (not hiding Winter growth in maple). Second, it has a orange uv-fluorescence. Cremonese wood usually has a fluorescence extinction in the upper layers.

     Nevertheless, I second that it looks beautiful. 

    UV is a great way to check if you are going in the right direction for Cremonese varnish adventures. The only variation between old and new is oxidation.

  9. Arching Plaster Casts

    in The Pegbox

    Posted

    4 hours ago, MikeC said:

    I have 3D printable files. I don't have a 3D printer though.  A friend of mine has one and I asked him to print it for me but he never did get back with me on that. :(  

    The problem with 3d printing is that for a full plate on some printers, it is too large to print. It must be done in pieces which is not an impossible task. Scrolls are much easier. I might be willing to have a go at it MikeC as I have access to a 3D printer and a CNC machine. Send me a PM.

  10. Arching Plaster Casts

    in The Pegbox

    Posted

    Valient effort Jackson. He doesn't understand nor will he understand.

    It would be nice to have more accessibility to casts or ct scans to 3d print. There has been some talk on MN in the past but no traction thus far. My own efforts with cad modeling (fusion 360) have stalled because I am busy with other things. Hope to get back to it soon.

  14. Arching Plaster Casts

    in The Pegbox

    Posted

    There are plaster casts of archings and scrolls around. Most are not made available due to clients and museums view that they are proprietary and are not to be shared.

    I disagree that due to distortion casts are not useful. If a maker is trying to work out the areas that are in-between the templates that are available, a cast can be invaluable.

  18. Looking at a sound spectrum and thinking about possible improvements for the sound. (Or better leave it as it is?)

    in The Pegbox

    Posted

    1 hour ago, Don Noon said:

    When pressed for details about tone and playability, the only thing Annelle ever said was "It does what I want it to do."  I think that sums up a player's perspective nicely, but not much help trying to analyze the details.

    She probably has not played enough instruments or lacks the ability to verbalize the characteristics. That being said she plays at a high level.

  20. Looking at a sound spectrum and thinking about possible improvements for the sound. (Or better leave it as it is?)

    in The Pegbox

    Posted

    3 hours ago, Andreas Preuss said:

    That’s why I am a kind of obsessed with texture in the sound. Another thing, which I am interested in is what a very good performer explained to me as resistance. I don’t think it is visible in any sound graph and has mostly to do with the feel of the contact between string and bow hair. (Including the stickiness of the rosin used)

    My version from another post:

    I think that the way an instrument feels/responds is as important as the sound to a performer. It is tactile. Granted different players have different requirements or skill levels. Instinctively I do think there is a correlation between FFT spectra and playability. But can FFT determine how bowing variables respond when a good player is trying to change the sound? Some instruments have a lot of flexibility and others do not. Can a spectra quantify that? I would say it would be very difficult to interpret that from a chart.

  22. Anyone have pics/info of Sam Z’s “Gluey”?

    in The Pegbox

    Posted

    I think that the way an instrument feels/responds is as important as the sound to a performer. It is tactile. Granted different players have different requirements or skill levels. Instinctively I do think there is a correlation between FFT spectra and playability. But can FFT determine how bowing variables respond when a good player is trying to change the sound? Some instruments have a lot of flexibility and others do not. Can a spectra quantify that? I would say it would be very difficult to interpret that from a chart.

  23. Anyone have pics/info of Sam Z’s “Gluey”?

    in The Pegbox

    Posted

    Granted thickness is a small variable. I keep thinking about Luiz Bellini telling me "I thickness the top to 2.8 or 2.9. I adjust the arching height to the characteristics of the wood." I should have mentioned above that I would not be opposed in a rare case to add wood! I also remember Melvin Goldsmith talking about making the top on the thick side and adjusting if necessary. Never played his instruments though.

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