Jump to content
Maestronet Forums

Evan Smith

  • Posts

  • Joined

  • Last visited

Recent Profile Visitors

8173 profile views

Evan Smith's Achievements


Enthusiast (5/5)

  1. I have never seen anything torrified at 160c, doesn't that temp just toast it a bit and add color, no real significant permanent structural changes. Many hours at that temp maybe something will happen, but not an hour,, Am I wrong? What do you pressurize the chamber with?
  2. You ok Bruce, ya keep repeating yourself
  3. Yes all of this is logical, perfectly logical. Actually it is discussed all the time. How violins change as they get older and the stresses settle in and equalize and the violins will improve with time. And the conversation goes as far as to speculate,, how to build them so they will be closer to that goal right up front. But no one dares to relate it to what you are talking about, somehow there is just no connection made. It actually makes me laugh out loud, gives me a real chuckle. Oh well,,,,,, I have built STL violins for a long time, not all of them. I do lots of drastically different things,, it's just part of the fun and the challenge. Different arching gives different tonal results. There are other ways to equalize the stress throughout the plate. But every STL violin I have made has been superb, I just finished one and it doesn't disappoint, it's fantastic, I wouldn't change a thing. I will say that STL's work good on the top, but they are not as necessary for the back, it is a different dynamic going on. Actually they are not necessary for the top either, lots of great fiddles don't have them,, but they do give results. When I teach violin making I teach people to use them as they have a better chance of success, because the STL design covers a lot of beginner mistakes and the results are good. You also should realize that the STL design is not strictly limited in every detail to the way that you see it. There is some leeway in the application. However the last violin I made, is pretty much consturcted in your view of it,, but on the top only,, it is very very,, good. When people aren't interested in what I try to show them,, I keep it to myself. I don't have that many pearls and there are lots of pigs out there.
  4. 95 sounds correct 116 could be right without f's but as thin as it is I doubt it. but 248 is mode 3 419 is mode 6 if there is minimum amplitude. Now this is starting to look like the stiffest piece of spruce ever recorded. Better call Guinness. Are you holding by hand and tapping,, using a speaker or what?
  5. It could be fine, it depends upon the arch and the specs of the wood being used. An arch this low could be fine with great wood, not so fine with sub par wood. It is a difficult question to answer, no simple answer. What does the long arch look like?
  6. I have noticed from experience that thinning between the upper eyes leads to rapid arch rise and neck dropping as the stresses in the arch equalize themselves. There is a certain sound advantage to this but I would rather have longevity than instant gratification. Early on I would end up thinning there to get what I wanted out of it. In knowing what I'm looking for now, I've been able to accomplish it in other ways that allows for a much stronger box. I've never seen this sudden arch rise and neck drop at all on a DG type arch with slightly thicker grads in the center.
  7. Everything is tuned to something like it or not. You can tune a dozen fiddles exactly alike and when you get done half of them won't even resemble each other in performance or sound quality. It works out only if the person doing it has other things they do, the way they look at it, that ties it all together to make it work. The small differences in working methods and perceptions make a huge difference. There is a whole lot more going on than the tuning. As far as I can see tuning does just one thing, it gives you a reference point as to show how stiff the parts are separately and how stiff the box is as a whole. Tuning the box,(body modes) can give a certain guidance as to the general sound you will get out of the box. Pretty much like adjusting a graphic equalizer, but only in general terms. There is a whole lot more going on than that as the real magic happens in the higher frequencies where simple wood removal, or addition doesn't translate into a predictable pattern of reaching a certain goal. The only thing that can be reasonably be tuned accurately are the body modes, and not even all of those can be done, but violins with identical body modes can have drastically different outcomes because of the higher frequencies. And none of this has to do with the tactile feel and the response and play-ability of the finished instrument, that is entirely something else. Identical body modes can be replicated with many different graduation patterns. Some of these patterns allow the violin to work well, some don't. It's a tough act to follow, no doubt.
  8. You said,, 73 gms, F holes are not cut yet. M1 95hz M2 130hz M5 275hz The m1 95 shows a tiny bit of hope, has some stiffness yet, it could be in the 70's at this point. These numbers are dropping fast, much lower than I usually see. How tall is the arch? Interesting to see what it will be. When it's time to bar it, I like Davides style of bar.
  9. I would be curious about all 3 modes about now, how much stiffness is left? I've been thinking lately about leaving the lower bout G side a bit thicker to help suppress wolfs. Maybe using up that energy in other parts of the corpus and restricting it in the lower bout might really help to eliminate a wolf's potential a bit.
  10. I've had a top finish at 280 mode 5 and was a great fiddle, sold to a good player that already had an award winning fiddle. Most of the time this doesn't work out and is mot recommended by me as a target, but it can work. I've been very successful with mode 5 at 400 numerous times. But use some wood that is just a bit too dense and has a lower speed of sound and you immediately reach the threshold of goodness that is available to you. You can't make it any better. Weight and stiffness are far more important than anything else. Good Wood is the key.
  11. Don, Do you do this by your side of bridge "Whack Job" with the 2gm hammer? And if so where do you place the mic?
  12. This looks about right, one does have to wonder why the neck cutout in the top is so deep. Arching definitely has the appearance of a loose block,,, unlike a chip off of the ol',,, Possibly reglued into it's current state of trauma. At any rate,, a candidate for the "New York Jet Set" For Sure.
  • Create New...