Posts posted by scordatura
I am curious about the Sam Z. “Gluey” project. Pics and info?
6 hours ago, A432 said:
Further: the sound loses nothing in the sonic spectrum over distance -- like a good Cremonese fiiddle. A post-Cremonese one does, starting to lose overtone components at the edge of the stage
Sorry, but this is incorrect from a physics point of view. The sound energy (db) level lessens over distance. There are of course variables that are in play that influence how much energy is lost. You are assuming some magic is occurring in Cremonese instruments and not in others. I think this is a misguided concept.
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.
20 hours ago, Jeffrey Holmes said:
For more pedestrian (affordable) violin bows that cross the 63g mark, an ex principal violist (Cleveland Symphony) used heavier violin bows during his career,
You wouldn't be talking about Robert "boom boom" Vernon would you? The boom boom nickname came from his big sound.
4 hours ago, Ron Teplitz said:
Does Joe provide documentation on usage beyond what's on his web page? I'm not going to make it to his workshop.
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.
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
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
11 hours ago, Michael Darnton said:
-interesting that AR doesn't modify his bridges. Want to know more about how this works and wondering if he overstated for effect?
-interesting that all three judge setups based on their own playing. This I disagree with!
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.
On 12/28/2021 at 5:22 AM, Davide Sora said:
Thanks Carl for the links.
I would like to know, will these videos remain available on the Oberlin Youtube channel indefinitely or will they only be visible for a limited time?
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.
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.
On 12/20/2021 at 9:42 AM, PhilipKT said:
Well that worked for Pollock
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,
Has anyone played a Roger Hargrave instrument that has been treated with plaster of Paris? If so what does it play or sound like?
Looks like you have done a good job of matching the maple to Don’s top. I have a couple of torrefied tops that I will be having the same challenge to match. Did you play the violin with the old top on? It would be interesting to compare with Don’s top. Can you show more pics?
12 hours ago, Marty Kasprzyk said:
What tension strings are you using? Light tension strings will increase the high end and make it sound brighter.
This is not always my experience. Meaning Evah Pirazzi strings are high tension and quite bright.
7 hours ago, matesic said:
Pardon my ignorance, but the only time I tried this the spectrum was substantially affected by how far my bow was from the bridge. I think it was mainly the 3rd harmonic that increased as the distance decreased which would surely affect the 1100Hz region.
This is a good point. Sounding point or the lane that the bow is tracking relative to the bridge and fingerboard is critical in sound production. The extremes of this are ponticello (loud and bright near bridge) and flautando (soft and dark over the fingerboard) To best eliminate variables, it is wise to be mindful of the sounding point, bow speed and vertical force (weight). Especially when playing the same instrument for comparison. Experienced players are always manipulating these variables to produce the desired sound.
Don Noon's bench
in Contemporary Maker's Gallery
Beautiful guitar Don. Have you done an FFT analysis yet? Hope you get over the hump with the medical stuff. "Youth is waisted on the young" ...