Jump to content
Maestronet Forums

Marty Kasprzyk

  • Posts

  • Joined

  • Last visited


About Marty Kasprzyk

  • Birthday 06/02/1945

Profile Information

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

Recent Profile Visitors

11021 profile views

Marty Kasprzyk's Achievements


Enthusiast (5/5)

  1. I think a shorter tailpiece (this one doesn't appear to be the original) would allow the bridge to be located more towards the midpoint of the f holes but maybe this isn't important.
  2. If you really believe longitudinal grain run-out should be avoided you should bend your plates to match your arch shape.
  3. Do you think George Stoppani's method of supporting the plate edges with flexible fingers which allow edge rotation and lateral edge movement but but not allowing vertical movement is a good approximation of a plate's glued attachment to the ribs?
  4. I beg to differ. We first need to define what a "good firewood" is. If you are freezing your ass off a low density wood in thin pieces will burn quickly and get you warm fast. If you are trying to stay warm all night a dense wood in thick splits will burn slowly and will help you through to morning when you can throw some more low density stuff on the fire. Both kinds of wood are good.
  5. I'm slightly serious now. Any discontinuity of material properties or geometries will disrupt an energy flow from one part to another. So any time there is an air gap between mating surfaces there is a resistance to energy flow from one surface to the other. One example of this is the resistance of electrical contacts. Despite appearing to be smooth the actual contacting surfaces is quite small and much of the apparent contact area is actually a highly resistive air gap. Another example is when ultrasonic medical tests are done on your body. If an ultrasonic probe is pressed onto your skin it doesn't work very well because much of the contact surface has an air gap. To overcome this a jelly-like cream is smeared over your skin to eliminate to eliminate the microscopic air gap. Bridge fitting is similar. Careful violin makers try to have a bridge fitting that very closely matches the violin's arch curve to ensure a large contact surface to eliminate any air gap. This allows better vibration transfer from the bridge's vibration energy to the violin's top plate which makes the violin sound louder. But much of the actual contacting surfaces still has a microscopic air gap. A further way of reducing the air gap is to put a stiff glue between the surfaces that closely duplicates the material properties of the bridge and violin top wood. I get a little higher amplitudes of some violin resonances (louder) when I glue the bridge on and they don't fall over.
  6. Try rubbing some bow rosin on the bridge feet to increase the coefficient of friction. Or glue the bridge on with Gorilla glue like I do but if you want to follow tradition use hide glue.
  7. Are light tension Helicore viola strings any better than the medium tension ones?
  8. I've made violas with flat top and back plates. One advantage is that you can move the sound posts all around without having to refitting them. Another advantage of the flat plates is that it saves a lot of wood by not having to carve out arched shapes. The old guitar and viola makers weren't wasteful. It would be interesting to hear what this instrument sounds like if it was restored.
  9. About that thing about your use of tools reflecting your personality-- A long time ago I used to work at the Carborundum Co. in Niagara Falls NY. At that time Carbo. was a leading manufacturer of sand paper (Coated Abrasives Div.) and grinding wheels and sharpening stones (Bonded Abrasives Div.). My own father told me it was a perfect job for me because I had an abrasive personality.
  10. And don't bother weighing your plates.
  11. Using 1/3 or 1/12 octave band filters to smooth off sharp peaks and sharp valleys from a frequency response curve is a pointless effort.
  12. The Italians have used bark tannins for (you guessed it) tanning leather since ancient times. Apparently different tree species have different color tannins which enables many different color leathers to be made. It's probable that when spruce trees were cut for violin top plates that the bark was saved for tannin production. Oak and chestnut tannin are used as preservative in wine making (Italy makes wine) and I tried a water solution of chestnut tannin to dye a curly maple strip. It then was given several coats of Birchwood True-Oil gunstock finish (Brescia Italy was a leader in gun production at the same time the violin was being invented) and the attached photo shows a center area which had the chestnut tannin dye applied. The outer areas were plain wood. The color was a light amber rather than a golden yellow. Maybe spruce bark or some other tree bark might give a more yellow color tannin.
  13. Strad had about 90 unsold violins when he died. I think I can do that too.
  14. Good question. I used Audacity's Hanning window of 256 for the plot I had shown. I'll try some others to see how the noise looks.
  • Create New...