tarisiosfever

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About tarisiosfever

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  1. Well, I would be posting here but since even gentlemen that I previously considered responsible adults are acting like teen-agers with eccess drinks, ridiculing every post I make, there's no option. I don't need to sneer at others to feel better myself. Au revoir, T.
  2. Dear Matin, I am trying to relate the (extensive) data on Bucur's book to what I hear/feel. Not that I understand everything...They say that of wood suitable for building violins (the one you would pick) curly tends to be denser than plain. They don't speak about quarter v/s slab cuts, I'm affraid...As I understood, denser means slower and with different damping/elastic characteristics. That's how far I'll go. I presume slower, denser maple would enhance certain frequencies and filter/diminish others, to me it is better at bass/midbass/midrange (warmer/darker). I hope someone did or will do a test like this: correlate in time domain the excitation of strings (or bridge) by bow action v/s behaviour and amplitude of movement of the back plate of different woods and cuts... That way we could better advice different players with different techniques the best violin for each of them. For example; heavy and slow bowing technique with curly maple and fast and ligth bowing technique with slab-cut backs. Cheers, T.
  3. <<Table 7.6 provides some acoustic and elastic constants of maple (Acer spp.). However, the sound velocity in the longitudinal direction is less than that measured in spruce. Holz (1974) reported comparative data on curly maple and common maple. The relationship between density and modulus of elasticity shows that wavy structure has a higher density and slightly higher EL than plain structure (550 and 700 kg/m3 and 100 and 120 108 N/m2, respectively). The damping factor is different only in the frequency range 200−500 Hz: Holz states that “wavy textured maple has a damping factor of by 0.1×10−2 higher”, 0.9×10−2 for plain structure and 1.0×10−2 for wavy structure.>> I read somewhere in The Book (but now I cannot find it to quote) that density and longitudinal velocity are inversely correlated, so I think a denser wood (slower) like curly maple would be slower to respond but warmer/darker in sound, or not? "Common maple" or "plain maple" is less dense (faster) than "curly maple", that is, it is nearer to spruce in those parameters. Sorry, too sleepy to keep searching... Good night, T.
  4. I confess I wouldn't know poplar or other wood from "plain maple". Those plain woods are usualy used as complete back and slab-cut, right? Where to find good explanatory photos of the different woods used for the backs?
  5. Oh! Thank you very much. Best wishes. T. PS: this book is fantastic. May I post this pic, even if OT ? <<Scanning electron micrograph of resonance spruce. The regular structure of tracheids is evident in the RT plane. Rays are visible in the LR plane.>>
  6. Very interesting information. I would be grateful if you could point me to a source. That would explain different elastic behaviour, but I am interested also in speed of transmision of soundwaves along the wood. I wonder if there is any information about that. I tend to believe that a violin with "stiff", "homogeneously structured" back will have different response (and probably tone) compared to a "less stiff", "heterogeneously structured" backed instrument...unless the maker diminished the effect by changing the thicknesses/graduation in the opposite direction... It's OK. We are talking about perception: no wonder we disagree. Maybe yours and Manfio's instruments are on a level in which these aspects do not play a significant role anymore? I miss though the opinion of (more) players, specially in the "response" aspect. Do they find differences? Best wishes, T.
  7. Very interesting question. IMHO there are distinct differences between quarter sawn and slab-cut backs, not only in tone (which anybody could hear) but also in response (which is more important for the player). In new violins, slab-cut backs (and I am including here "plain" back) have easier, quicker and more even response along the fingerboard and flamed quarter backs are a little more hard to elicit response, more even so in higher positions. In another aspect, tone seems to be brighter and more "homogeneous" (as in not very varied) in slab backs, whith brighter (opposite darker) sounding lower notes and flamed backs have richer sounding tone, both in lower harmonics and in the way that the player can "sculpt" the tone. Obviously, as the violin gets used those differences may vary (increase or decrease) and I would not dare to guess publicly for a 200years old violin about what kind of back it has. There may be even a gradation in those characteristics between groups: broadly versus thinly flamed backs; marked versus faint or even plain slab backs... Just my opinion. As for the explanation about the mentioned differences, I prefer to wait for others' opinion on the subject. Enjoy. T.
  8. Dear Steverino, I think another question is more important: would you (or anybody around) be able to recognize a previously undetected GDG violin? (and put your money where your mouth is...as I think, goes the saying...) Cheers, T.
  9. Nice. I offer you double de price. 100% profit! Think of it. Cheers, T.
  10. If one understand the function(s) of the SP, the pros and cons must be evident. Good luck experimenting. T.
  11. Could be as you say. Anyway, using an oval SP can be useful in the right scenario. Cheers, T. PS: am I a Senior member now? How come?
  12. Please see this Rx of a Stainer. It shows an oval section SP. I have used this approach to get a more robust sound from a flute/thin sounding Stainer copy. A viola SP "sandpapered". These kind of experiments take five minutes... http://orgs.usd.edu/nmm/Violins/Before1800/Stainerviolin.html Best wishes. T.
  13. I like that violin, specially the wide old looking soundholes. I am bothered by the label spelling. It says "Joann Georg", instead of "Johann Georg" or "Joannes Georgius", though the printing looks convincing. What do you think? Cheers, T.
  14. I second the "Chinese- new" violin opinion: excellent Strad copy. I could even name the maker if we were playing for cash. Ooops. Didn't see the owner's last post.