Evan Smith

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  1. Also notice that a longer soundpost toward the center increases the HZ of the B1- rapidly. another place to diddle around,,,,,,,,,,,
  2. Here is B1- and it's relationship to the soundpost. You can see that the area below the bridge is active on B1- , too thin in this area, esp. with extra wide bouts could cause some problems. As far as building to reduce the risk of a wolf in this area,, which is usually on B1+, Peter KG http://www.thestradsound.com offers this solution, a tenth or two thicker when building, thin down only as necessary. G at 392 is a bit low for B1-. Maybe your B1- is low. You could tap around on the back, probably the lower bout using audacity and see what you can find, or below the bass f-hole. You will find it somewhere. place a wedge under the fingerboard in different places and check. also a wedge under the tailpiece in various spots to see if it changes anything. B1+ Just Because.
  3. I think that Anders means bent while growing. I've seen a bit of it,, maybe? What exactly do you want to do? I still don't have a clear picture. I have broken lots of bent wood, and carefully compared it to unbent wood and the bent wood has not been damaged, or shown a decrease in strength. There is a lot of speculation going on here,, I do not have any large equipment, that takes up lots of space,,steam is the worst thing to use to bend wood,,etc... How can I help you? Bending is very simple and straight forward, unless you don't know what you are doing, then a lot of wood gets broken and it is extremely difficult to do.
  4. The 79 mode 1 really indicates heavy flexible wood. I think that mode 5 might drop to 270-280 after the f-holes are cut. Can still make it work though. I wouldn't remove any more wood around the edges for now. It is easy to go over the edge when it is heavy and flexible. It looks nice.
  5. I guess that I should settle down and read a bit slower,,,,,,,,,. I my wildest dreams I neer would've thought the tab would've been for fiddle, esp. wit a name like "Lemon Banjo". In all seriousness, learn it by ear,,,, it is the only way to get it right, what you like about the song is "How" it's played,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, music won't tell you that at all. Palousin preaches about that a lot, and he is 265% x 10 to the 47th power right,,, If you really need help hearing the notes, learning to read music will pay off in the long run, and save you hundreds of hours. I understand that double stops can give a strong tri-tone,, and at times it is almost impossible to hear exactly what is being done without a lot of trial and error. And in celtic music some of the triplets between notes are difficult to distinguish, particularly when intermittent droning is being used. So even in the event of using music, as soon as the correct notes are learned,, memorize the tune and play by ear. She always has to have music,,,she can memorize,, she's done it`, then forgets it` later. So really,,, buckle up and learn to read, there is a lot of music out there waiting on the shelves,,,but also and really the most important, learn to play by ear. So here it is,,,,,Just because you asked,, I try to help.
  6. Start here,,,Note that the first string open,,, is a D, same as 3rd fret on the 2nd string,,, I failed to notate that. The fifth string, open G can be played in place of any G note as filler,. The banjo plays generally an octave below the music as written. This is first position basic stuff. When playing in "A" with a capo, start your fret numbering over,, as in 2nd fret will now be 0,, the nut. The music will read the same for both keys,,,,
  7. That's right, you play 5 string banjo with TAB, there is not proper notation with regular music to address the issues as to where you are going or where you might end up, the same note is repeated several times on the instrument,,,,,, in order top play fast and efficiently you have to group things in a logical manner and using music it would take some trial and lots of error,,, and TAB cuts through all of `that. Every version of the same song can be completely different,, so there. Now I can jump off of the grouchy old man's wagon, and on to my own! Music Score is an excellent program,,we have written out some complicated irish stuff, with some crazy rhythms, and it had the capability to keep up and preform flawlessly, and then print out a professional looking score. Very impressive. So my contribution,,,,, It is really easy to convert music to Banjo TAB,,, ya just have t`o do a bit of home work. Get a fingerboard chart, of make one, mine is about 35 yrs old,, then write out the music staff to identify the notes,,,look at the fret board chart and fill in the blanks. The trouble with a program doing it for you, is that if a banjo player didn't write the program, it can translate the music` into something that is unplayable. So Do your home work and get back with us,,, surely some one has put this altogether, somewhere, I couldn't find it Just` do it by hand,,,do it a bit and you get faster and faster and you are memorizing your fingerboard at the same time. This looks like a great version of this song to learn, what else is in this book. You'll need to capo at the 2nd, and the 5th string at the 7th. By all means, make all of us grouchy old men happy and have fun! I'll put up some charts,,,,,,,,,,,,,,,
  8. Great family picture Don,,, Nice Chicken!
  9. I really don't have a clue how they sound. I assume that they sound like violins. The Amatis and Del Gesu's are know to be ok, I think?
  10. From here it doesn’t seem quite right, I would expect to be closer to 400 or above at this point ,,I would do exactly as Don said, get the f-s finished on the outside,, but I wouldn’t touch the Saconni plateaus to get the weight down. Weight at the end of the plate does not matter at all, there are chin rests and necks attached there any way. Right now they are producing a smaller vibrating surface area, it is actually the weight of that ,,related to the stiffness that matters, not the weight of the entire plate, though that is how it is normally measured. Removing mass from the center will help, but how stiff is it? What we really need to know is the height of the arch to make sense of it in any reasonable fashion. What the arch looks like also matters, also a close up of the wood, might give some clues. Is it 14,,16,,17,,? It makes a huge difference. For now, I would leave the ends, and leave the c-bouts no thinner than 3.5 clear up to the upper eyes of the f’s, straight to the upper corners. This can be taken down later as necessary. Some times Strad left eyebrows above his f’s, sometimes not, saving this area for last, I find to be a nice option to get things really dialed in. . Keeping a reserve of stiffness here can help save mediocre wood, and still end up with a halfway decent fiddle. I usually start with 3 in the channels of the upper and lower bouts, and end up from 2.6-2.8 . Run the inside straight out to the glue surface of the linings, remove the thickness of the channel on the outside. Leaving the ends, and the c-bouts thick for now will give you a few more options if the wood is sub-par,,,,(my guess) And Oh by the way,, Have Fun! Notice that the second arch is reverse graduated and thick in the c-bouts,, bottom photo shows straight lines to the edge on the inside.
  11. I would assume that “He” is aware of your taste in sound, and might be concerned that the clarity and focus of the C string might be compromised with the bar cut as it is. One could assume that it starts its taper a bit early and the presumption could be made that it might be on the edge of giving you a softer, yet fuller, but less focused sound than you might desire. It requires some substantial stiffness to move low frequencies, and therefore imperative for the bar to move the whole top and keep it in order to achieve clarity and quick articulation, especially important on a cello, yes? But without knowing anything about the top in question it is nigh impossible to make an accurate judgment over the phone. Is the weight within the normal range, are the frequencies normal, does it feel right when flexed.? What does the arching look like, is the upper bout significantly flatter than the lower one? How do the upper and lower bouts compare when tapping, do they push down similarly when the full plate is supported and it is pushed down upon. You have really asked an impossible question. I could answer, as could many others if the plate was in any of our grubby little paws, even then most likely, with a bit of uncertainty. The thickness of the top as viewed at the upper hole of the F has a close resemblance of lumber, I would assume that it is not overly thin, how much does it weigh? All of these things factor in as to why the bar is as it is,,,or just sloppy? This is a good fiddle, Del Gesu, and I’d bet a dollar against a donut that “This” is what “He” would like to see. You can notice a substantial amount of lumber north of the bridge area, extending much further than yours, then rapidly tapering out stopping about the center of the upper bout, then feathering out from there. You can observe the same treatment of the bar, in the lower bout. It is obvious how this would drive the bass side of the plate in a definite manner. This bass bar treatment is much more standard than what is shown in your cello. Probably a good reason for it,,, huh. Now, ,, it is not difficult to add wood to the top of the bar after a bit of work with a small flat bottomed plane, glue it up then shape it up. I have done it many times, on pianos, guitars, fiddles,etc,,,,,,,,,,, really no need to remove the entire bar if it is attached properly,,, other than,,,"But I've never done it that way before". Good glue is a wonderful thing. Now a question for you,,, But what WILL Heaven smell like?
  12. It would be informative to know how much varnishing you are planning to do. 1 fiddle,, 3 fiddles,, 10? The solution could be as simple as placing a filter and fan in the door, blowing into the room that you will be varnishing in. You can make a cheap sacrificial door,, keep the original to reinstall when you move or sell, or whatever. Just pressurize the room with air from outside of the room,(the other part of the house.) Build a small work table that hangs on the windowsill with two legs to the floor. It doesn't even necessarily have to be permanent. Or a big one. Open the window and varnish. Cardboard boxes of various sizes can be used to customize the opening, and create a work station. When you get it all working properly duplicate it in wood and plexiglass, or whatever. It doesn't have to be permanent, these types of things can be made to fold flat,, out of the way. You don't want the restriction be too large, you need the right combination of volume and velocity,, and cold air won't be a problem. For the air source,,, crack multiple windows around the house and no one will know the difference. Air does have mass,, so in pulling it down stairs,, have a fan sufficient to pressurize the room, give the volume that you need,, then regulate it at the window. Venting shouldn't be a problem for a fiddle,,, I have a 12 ft stack above the roof, and can cook varnish indoors and not smell a thing,, but that's another story.
  13. That's VERY nice Bruce. You did this all by yourself?
  14. Have you measured the bout widths with a caliper. If this is after distortion,, the top will be 2-3 mm wider in the c-bouts than the back. The upper and lower bouts of the top could be a touch narrower than the back.