Peter K-G
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Wow!
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Oops, guilty as charged
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Stiffer plates gives brighter sound, too stiff gives a harsh sounding violin. unbalanced stiffeness between plates gives "odd" sounding violins. Experience gives intuitive feeling on when the plates are ready so that it's possible to make good/great violins all the time.
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Short answer would be The wood is different Ex. Make two exact carbon fiber violin copies and they would sound pretty much the same.
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Low M2 in tops are not as big factor if the thickness in the middle is "healthy"
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Back to what it was after a year, more or less. Darker and easy to play again.
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One of mine needed "re-touch" after 2-3 years. I used quite fresh wood and not heat treated, for the top. It had become too bright and had lost it's tone (for my taste). I had complete documentation for all the parameters so there was now fear involved. I scraped ~2,5 g off (wood) mostly from c-bout edges and in the middle and re-varnished it.
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Yes, I have been using his method almost 8 years now and can make close tonal/play-ability copies. You also mentioned STL lines, it's a natural effect of the method (optimizing volume/strength). I have taken a lot of photos of arching, here is some random examples. The last one is almost 18 mm high (low performance maple). Lowest one is 14.5 mm. The style has however the same character, which is also en effect of the method.
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Unfortunately it involves tuning and measuring
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precarved spruce and maple comparison treated with raw
Peter K-G replied to Artiom's topic in The Pegbox
If the treated top wood's start frequencies (untreated) would have been confirmed to be the same as the not treated top wood and the moisture content are the same it's quite an improvement. Much more than normal(mild, 160C 3 hours) heat treatment that I do. This would in turn make your treatment method/recipe quite interesting. But then again it's your "secret" and isn't public? -
precarved spruce and maple comparison treated with raw
Peter K-G replied to Artiom's topic in The Pegbox
I can understand that it's fun to "play" with wood, but I have to say the same as Don. What's in it for others if there is not at least some before/after comparison. The only thing I can imagen from this, is that your treatment draws moisture out of the wood. -
I agree and I also think that contemporary makers have a tendency to fall into one of those old guy's "concept". I'm into Strad's concept, but I plan to test dG concept in the future. Maybe when I get older I'll try something new like you are (super light)
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That's a good one. I have made both, It's more pleasure to make one of the kind, but the pleasure is short And I can't control the outcome, not one bit, the concept is written.
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The violin is a well known concept, developed over many hundreds of years. There is nothing new to discover - it's actually guite boring
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He might have been tempted to knock on wood occasionally