Marty Kasprzyk

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About Marty Kasprzyk

  • Rank
    Enthusiast
  • Birthday 06/02/1945

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  • Gender
    Male
  • Location
    Olcott, NY, USA
  • Interests
    Wine making, gardening, dog training,

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  1. Marty Kasprzyk

    Baroque viola neck and fingerboard dimentions

    The problem with small instruments is that the plates and ribs are made too thick. The combination of small plate sizes and thick thicknesses produces a much higher stiffness which makes the resonance frequencies much higher than normal size instruments so the resulting sound isn't as deep sounding as larger ones. The A0 frequency for example is well known to be proportional to the f hole size and inversely proportional to instrument's volume. But it is also dependent upon the stiffness (or the opposite--compliance) of the cavity walls. Frogs have studied this extensively and can make low pitch sounds by having very flexible air sacks.
  2. Marty Kasprzyk

    Baroque viola neck and fingerboard dimentions

    If a viola should ideally be 21 inches long to produce a low pitch sound how do explain that a bull frog can do it?
  3. Marty Kasprzyk

    William Fry Internal Scraping Method

    I forgot to say that if you flipped over the red line vertically it would resemble a good violin's frequency response curve with strong output in the signature modes and in the "bridge hill" region.
  4. Marty Kasprzyk

    William Fry Internal Scraping Method

    What does the red line show? The only German I can remember is ein grosse bier
  5. Marty Kasprzyk

    William Fry Internal Scraping Method

    Does she especially like the C# note?
  6. Marty Kasprzyk

    William Fry Internal Scraping Method

    I recommend that the resonance peaks should never be octaves apart (261.6, 523.3, 1047 etc, C note for example). This would cause some notes be overly loud (maybe wolfs) because all of its harmonics would have high amplitudes. The valleys between the peaks should also not be octaves apart which would cause some notes to be very weak. One of the qualities of a good violin is that it has a fairly even note loudness so that the player doesn't have to constantly make bowing adjustments from one note to the next. The frequencies of the resonance peaks and valleys hence their spacings appears to be hard to control and seems to be a matter of chance given the variability of wood. Even great makers like Strad sometimes had good and not so good spacings hence good and not so good violins which nobody wants to talk about. (oops I forgot, "great" and "not quite so great")
  7. Marty Kasprzyk

    Bridge position: What's most important?

    If having standard violin dimensions is a good idea does it then follow that having standard size players is also good?
  8. Marty Kasprzyk

    Does anyone NOT build Strad? And if not, why?

    The reason I "NOT build Strad" is that I believe this design had reached reached its full potential and can not be significantly improved upon. So if I want to do something better it has to be different. I want the back row of the audience to hear my violin better than a Strad. My violin looks different and I want the far away audience to notice it is definitely not a Strad. Of course it has to sound good, but that's just an incidental problem.
  9. Marty Kasprzyk

    Does anyone NOT build Strad? And if not, why?

    Do you have a guess of what the annual insurance cost and maintenance costs typically are? Maybe I should price my violins less than that.
  10. Marty Kasprzyk

    Does anyone NOT build Strad? And if not, why?

    There's a possibility many of them tour with modern instruments but never tell anybody.
  11. Marty Kasprzyk

    Does anyone NOT build Strad? And if not, why?

    If you need some encouragement and inspiration to start building violins, here's two of my favorite quotes: "Trying is the first step to failure" --Homer Simpson "If at first you don't succeed, try, try again. Then quit. No use being a damn fool about it." --W.C. Fields
  12. Marty Kasprzyk

    Stradivari's secret was a concept?

    Are trees are silly for making deeply flamed maple? I'm sure they know what they're doing and have good structural reasons for doing so although I admit I never asked them about it.
  13. Marty Kasprzyk

    Cucumber!

    The cucumber used a compass construction to make the spiral.
  14. Marty Kasprzyk

    Stradivari's secret was a concept?

    and provided careers in making repairs.
  15. Marty Kasprzyk

    Stradivari's secret was a concept?

    The backs might be stronger if the arch was inward instead of outward.