Peter K-G

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About Peter K-G

  • Rank
    Life Artist
  • Birthday 06/13/1971

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  • Website URL
    http://www.thestradsound.com

Profile Information

  • Gender
    Male
  • Location
    Finland
  • Interests
    Violin Making
    Violin Sound

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  1. Peter K-G

    Purpose of tuning the fingerboard

    David, I do not find the neck-fingerboard "that" significant! (except for maybe the player, who knows?, to me it does, but I'm a terrible player, too high and I feel the violin is "dry") What I do know, is how to master all the modes below 600 Hz, without "odd" graduation, In fact graduations Strad like or DG like, does it matter,. I do not know yet. The only thing I know so far, is that my violins are loader than average and that I can copy each of them. B0 is just the the cream on top of the puddinng (and I have no idea if I'm making sense in US English, just writing....) Anyway, why not put B0 at A0, it will happen by itself, before you know it, or try not to, equally difficult! And if not, you are far off, an old Italian!
  2. Peter K-G

    Purpose of tuning the fingerboard

    Here is some more information http://www.thestradsound.com/ongoing/tuningfingerboard http://www.thestradsound.com/ongoing/checkingmodesandchoosingfingerboard High ringing fingerboard (blank 634 Hz) -> Thick end: Low ringing finger board (not used, will produce lower B0 dB) -> Thin end:
  3. Peter K-G

    Purpose of tuning the fingerboard

    Sounds complex? It really isn't, because it will more or less fall in place by itself if you are consistent when choosing fb blanks and make sound boxes within a certain stiffness range. Think of A0 frequency, it's almost impossible to get it really off, if you have normal dimensions and use a known pattern/form
  4. Peter K-G

    Purpose of tuning the fingerboard

    That would be, of course not. The fingerboard is one of the player's most important part of the violin and should have the right dimensions. It's the underside part after the neck you work with. I could post some images later You have about +/- 20 Hz to work with B0 on the fingerboard, but it is the neck together with fingerboard that matters and most important in combination with the sound box flexibility, mostly stiffness of the backplate.
  5. Peter K-G

    Purpose of tuning the fingerboard

    Put it on the priority list of player feel, IMO it is quite high on that list. Even a bad player like me can recognize this "enhancement" when this switch is on. It's not so audible on soft fiddles with low dB body modes.
  6. Peter K-G

    Purpose of tuning the fingerboard

    The software has a lot of modules, but for $19.90 you have what you need to do FFT analyses. http://www.studiosixdigital.com/audiotools-modules-2/the-audiotools-platform/cyber-monday-sale-pricing.html
  7. Peter K-G

    Purpose of tuning the fingerboard

    Sure, sorry about the bad video quality, it's difficult to hold a phone to record and tap at the same time (B0 at the end)
  8. Peter K-G

    Purpose of tuning the fingerboard

    One of the worst finger boards I have tryid was high dens, very low ringing ebony, I think it was Indian? The violin felt dead on lower strings, a new great finger board made quite a difference
  9. Peter K-G

    Purpose of tuning the fingerboard

    Schleske also discribes finger board "twisting" modes that splits B1+, which is interesting because it could be a stable way to split it and eliminate wolf note. But that is far more difficult.
  10. Peter K-G

    Purpose of tuning the fingerboard

    B0 can be quite strong if the backplate and B1+ is strong and not too high in frequency (too stiff) It's easy to "tune" B0 if you know the backplate and the B1+ it will give. I just choose a FB blank that is 95-100 g with a frequency of 590-610 Hz. when it is ready (about the right thickness and form) the weight will be ~65 g and give a strong B0 ~ 270-275 Hz This will automatically split A0
  11. Peter K-G

    Purpose of tuning the fingerboard

    On a violin with a strong A0 mode (265-280 Hz) it gives more liveliness to c/c# if you split it with a strong B0 mode
  12. Peter K-G

    Tap note of Mode 5 with back players glued to rim?

    I know two violin makers living nearby. One of them is a senior (over 80), made over 100 violins and placed 1-3 place many times in competition. The other maker is in my age and have made 50+ instruments. All violins I have played by them have been good or great. This week i visited a Maestronetter, played a great violin made by him. And got some valuable feedback on one of mine that I had with me, how to improve it, Strings/rosin, soundpost placement, fingerboard curve, strings/bridge curve, bow... ie. The setup was not good. So what's to say; pro makers are mostly making good violins, that's no secret: Make a lot of violins and have violinists test them and give feedback - how can you fail? What if you want to be more precise and know the outcome, but as you say maybe, maybe not. Mostly not if you make a lot of violins and sell them, they will all be good and different and eventually find a home with a happy musician.
  13. Peter K-G

    Tap note of Mode 5 with back players glued to rim?

    There are two modes near each other, if you know the free plate's M5 frequency, you can predict what it will be with the ribs (rib garland needs to be in normal range, ribs, blocks and linings) If the one that corresponds to M5 is for example 290 Hz the other one can be found 30-50 Hz above. There is also a lower mode that is M2 with rib garland and a one much higher that is a prediction of what B1+ If the job with a plate is done from start to end (starting from arching, volume and M5 before inside is started) All these modes can be predicted.