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Eric Fouilhe

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About Eric Fouilhe

  • Birthday 05/19/1950

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    South France

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  1. Rico, I'm glad of your successful trip in our countries. I have the same nice souvenir, at the first violin Congress in Washington 27 years ago: A so warm welcome from the american luthiers in 1987, while the small Bois d'Harmonie beginner came to visit your violin's world.... Eric F
  2. Other kind of old mechanic pegs.. Found near from Mirecourt at the LABERTE factory
  3. I'm note sure that Luscombe have a stock... You could try Johnson String, Newton Center MA, or directly at Bois d'Harmonie
  4. Pretty little thing, I've never seen pegs like that. The wood is rather a wild fruit as a sorb tree, hawthorn or jujube, more than a boxwood. Button at the top of the head is often found on the pegs of the seventeenth century. Fine molding between the head and the cone is more recent, like digging narrow collar, which is a derivative of the English Heart shaped peg. Do you have more information on the instrument, and a country of origin? Is that it can be a collection instrument? What kind of other accessories on the instrument? For my part, I would be interested to know better the dates of first pegs dugging under the head, including for the usual model of the old English boxwood pegs…
  5. As an ancient Hurdy-gurdy maker, I wanted to avoid the musician's hand when measuring input admittance at the Cello bridge. It was funny to motorize a bow-wheel made of felt. There was a sounding difference between the wheel and a usual bow, but not so much on the graph of the admittance. I didn't know if I was right to do that, and after reading the article of Zhang/Woodhouse,I was reassured. "The influence of different driving conditions on the frequency response of bowed-string instruments", was presented by Jim W. at the 2013 SMAC Stockholm. Jim W. wrote: A series of experiments are carried out with three different driving conditions in the case of a cello: hammer, normal bowing of a string, and step excitation by a breaking wire. The results suggest that there is nothing fundamentally different about the hammer method, compared to other kinds of excitation methods. This article is on the proceedings of the Stockholm Music Acoustic conference 2013. I have a copy, but I don't know if already published
  6. Now about pegs and tailpieces... I found the wood interesting for pegs, nice to turn on the lathe, and gentle enough to fit on the violin. But when I saw the chinese jujube tailpieces, I have not been able to measure and compare the density and strength of the Chinese and Mediterranean woods ... Only my empirical knowledge said that the Chinese was far too light and soft. This research was done at the University of Montpellier, and the manufacture of accessories at Bois d'Harmonie http://univ-montp2.academia.edu/EricFouilh%C3%A9
  7. Some years after, I made a scientific test comparing mechanical properties of around 80 hard wood species, The real méditarraneen Jujube is now very rare. This is a hardwood, like the service tree (Sorbus domestica), softer and more red than genuine boxwood (top photo). It is almost lighter (density is 0.93 vs 0.94 to 1.04 for boxwood.) The modulus of elasticity (Young's modulus) is a disappointing 9.5 GPa and a low Q factor, around 70. It is close enough to the mechanical qualities of boxwood, fairly elastic and damping well ...
  8. Hello guys, Please lets go back to the original subject... Its a short story about an old jujube tree, I cut on the french mediterranean coast, 15 years ago. I was sure of the species, seeing the leaves and fruits. I wanted to check the good advice of Mr. Stradivari, and the interest of this wood for violin fittings.
  9. David, I hope the 2 TP modes you are referring, are the modes #1 and #3.? Are we speaking of the same thing ? Your interesting idea to associate each to the bass edge and the treble edge of the TP could permit to tune their frequencies with the afterlength ?
  10. Hello David, Could you precise what do you mean by ""the two "torsional" frequencies of the tailpiece"" ? If you refer to the Bruce Stough's work (Catgut ASJ 1996) are you speaking about the Rh and Rv solid body modes of the complete TP chain ? Or are you speaking about the (beam) torsion mode of the sole TP ? What do you think about the importance of those modes ? Eric
  11. Hi John, You can join Loïc Brancheriau at this page: http://ur-bois-tropicaux.cirad.fr/content/download/4345/32479/version/1/file/Caract%C3%A9risation+non+invasive+des+propri%C3%A9t%C3%A9s+des+bois.pdf As for me, I do not find the Bing documentation in english anymore.. Bing is a very reliable tool but not particularly destinated to violin measurements. In this case, George Stoppani software could be better for you. Bing is a simple FFT, GS software is mainly an FRF, but an FFT too. EricF
  12. I tried the following receipy during 26 years. WAY OF COLOURING PEGS for genuine boxwood The chemical reaction with false boxwood (zapatero, amarello.....)gives a very unsatisfactory result Genuine boxwood,(Buxus Sempervirens) heavyer, finer, is the hardest wood of Europa .Concerning your good relationship with your musician clients, be carefull : The boxwood peg requires at the beginning of use ,more attention than the Rosewood :smaller pores, then difficultys to keep the peg’s soap, and the properties of the boxwood to bend (see the flutes of XVIIIe century in the museums, like bananas) .This wood is reactive to the humidity :take the time to carefull dry your pieces, otherwise your pegs will quickly pusch in, after drying .Before the end of pegs adjustment, and before staining, try to pack the cone, turning the peg towards in your peg sharpener, or in a hard wood block Because of his exeptional hardness and density, the nitric penetration is very thin (less than 1/3mm) In brief the good way is to use quickly strong acid, and to neutralize slowly with bicarbonate, correcting the colour with ammonia. It’s my own recipe, make your own testing on your responsability . What is necessary: Nitric Acid(50 to 68°(degrees)Alkali(Ammonia)(20%);Sodium bicarbonate (powder).Minimum temperature 18°C Use containers & accessories of glass or plastic.Keep your pegs away from metal. Glasses,gloves,mask...in case of contact with acid ,neutralizing agent:Sodium Bicarbonate, Be carefull, the nitric steam damage your lungs, and rust your steel tools . Be carefull, acid manipulation can be dangerous Method: After last sanding(no metal sponge) soak pieces into warm water for 5 minutes, then soak in warm (40°C) acid,for 1minut(or use a flame of an alcool lamp, or an hairdryer on the pieces if you didn't warm the acid).you can use too a rotten paintbrush, or a cotton stalk (used to clean the ears).Drain 5 minuts. Rinse in hot water. Soak 20 mn. in a neutralizing bath(3 tea spoon of sodium bicarbonate for 1 liter of hot water).Then, rinse in a hot water. Drying pieces 8 hours minimum vertically Soak into a mixture of half linseed oil,and half thurpentine for 30 minuts. Drying 8 hours vertically. Then, polish . Darkening: Alkali fumes;(this is a stronger neutralisation)(and strong for the lungs too!!) After buffing of pieces,put a small cupel with about a teaspoon of alkali into a closed box(avoid metal).Wait for one hour or two to decrease the ammonia power.Then put the pieces in the closed box during 15mn to 3 hours,depending on the darkness you wish.If you forget the pieces in alkali fumes, they will go grey-green... Defects: Light stains:wrong neutralizing;again akali.. Dark stains:Insufficient drying,before neutralizing (dark clouds)or metal contact:(black-dark points):start again the whole operation, with shorter acid effect, or use a product against clothe’s rust.
  13. Not sure of the violin, but I have a photo of his Soil, fitted with the tailpiece of the video..
  14. Giovanni Lucchi gave us this wrong memorie, years ago, on his Lucchi tester demonstration CD: You can't calculate the quality Q factor with speed and density. But just the radiation ratio R
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