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Marty Kasprzyk

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Everything posted by Marty Kasprzyk

  1. It is my expert opinion that one experiment is worth a thousand expert opinions.
  2. I believe curly maple looks best with directional light as Don mentioned and I think a single small point source is the best. A common example of that is direct sun light. Conversely the same curly maple looks duller and rather blah on an overcast day with its diffuse even light coming from all directions and it looks totally washed out on a rainy day.
  3. It appears they used blue lights which made the yellow instruments look green.
  4. I didn't see any evidence of sticking. Perhaps the tablecloths had been sprayed with "PAM" canola oil blend.
  5. I think it is a shame to waste things and I believe in recycling. Up here in Western NY weekend garage sales are a big deal-you put all your junk out on the lawn and people drive around looking for stuff. Somebody even hooked up with my ex wife.
  6. At one of the VSA instrument competitions I saw all of the instruments laid out on long white cloth covered tables. About one third of them had the impression pattern of the cloth fabric weave on their back plates where they touched the table cloth for the week. My impression (a premeditated pun) was that the varnishes of many of these relatively new instruments were not very hard.
  7. What's the string length? An easy way of making a louder instrument is to increase the string tension. A longer string length requires higher tension to produce the same frequency. About 200 years ago the original baroque violin necks were extended about 1cm to have a longer string length which would have made them louder. The French or whoever may have also made the violin body longer to maintain the same proportions. I've projected these string length and body size increases trend to the present time so my violins now have have a body length of about 41cm with a string l
  8. After you've exhausted all the easy solutions, take the top plate off and thin it. You should do this in small steps of thinning it just a little-glue it back together and play it. Repeat this until you are satisfied with its sound.
  9. How did it sound before and after? What kind of expanding foam did you use?
  10. I think that is absolutely true.
  11. Hide glue isn't so good for this. I wonder if the dime was chosen to go with the sound post because of its thickness or diameter or weight.
  12. It's obvious to me from your May 22 posting in "your favorite color is" that your pie crust dough is a good ground for maple.
  13. Are the same notes played with higher positions up on the A string also too harsh and too bright?
  14. That does helpfully spread the load. If you wanted to further reduce the likelihood of sound post back cracking the back should be made concave rather than convex. This would put the wood's cross grain direction of the back, which is weak in tension, into compression where it is much stronger. While this might be a good structural concept the historically chosen solution is to simply make the back thicker and therefore stronger, stiffer and heavier in the sound post area. This has some acoustic consequences -- the heavy and stiff back plate doesn't produce as much as the top whic
  15. Are the notes on the E string too loud, or are they too harsh (bright), or both?
  16. I'm also a hobby wine maker for about 40 years. I don't make any novel wines. Wine making is very similar to violin making. You folks out in California bought into the successful international mass marketing hype that French and Italian classic "traditional" varieties (cab sauv. cab franc, merlo, pinot noir, chardonnay, nebbiollo etc.) were the best and nowadays everybody follows that "tradition" of making only about twelve different grape wines. In a similar fashion violin makers copy Strad and DG models. However many very very old grape varieties do taste interesting and there is an
  17. The original topic brought up by Andreas was: How does a violin reproduce overtones? - Theorizing a model I tried to summarize other people's work in 100 word or less so even I could understand it. Here's another attachment if you like more insight: 1292804563_e-MusicalAcoustics-Copy.docm
  18. A good description of this is given starting on page 49 of the attachment: An_interdisciplinary_study_of_the_timbre.pdf
  19. The amplitudes for an ideal string follow 1/n where n is the harmonic number but real-life strings have some stiffness and damping which changes this relationship. Different amounts of stiffness and damping is what causes strings to sound differently. For example, damping is often frequency dependent so a string with a lot of damping has lower amplitude high harmonics so it sounds less bright than a string with low damping. So you can pick your strings to offset or augment the filtering effect of your instrument.
  20. What is truly remarkable is that its graceful outline shape, in this remote part of the world, was a compass geometric construction.
  21. I've never heard a really good player say my violin sounds like crap. They are very kind and sensitive. They usually say something like--"this has its own unique voice" which means it sounds like crap.
  22. I read the "Bu" as But". This is similar to the brain compensating for the missing fundamental in a violin's bowed G string.
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