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  1. Messiah wood (again....)

    Thank you Peter! Masterful job. Peter, recently I’ve been having a conversation with a very knowledgable leading American concertmaster on violinists and their their violins. It is a discussion about the affinity between players and the sound of the particular instrument they chose. My question for you, seeing that you have cross referenced the the tops of Stradivari’s violin’s to the trees they were made from, is if there were particular logs that produced tonally superior instruments or instruments of recognizable tonal characteristics?
  2. plate tuning specs ?

    Even if we say those add 10g (generous) we are still talking about a heavy violin.
  3. plate tuning specs ?

    Let me guess. Does it have to do with catenary curves? M2 and M5 of a single plate are like passengers on a bus. They travel together but are bound for different destinations. "As mode 2 reflects the cross-grain stiffness of the wood far more than does mode 5, this suggests that the spruce found in old Italian tops may be stiffer along the grain, and/or weaker across it, than new wood." CMH This difference of tuning says nothing about the relative stiffness of old wood vs new. Without knowing the differences in arching and graduation it is hard to say much of anything. Weight is something to observe but let’s remember that Paganini (perhaps the greatest violin in history) thought his ‘Cannone’ was the greatest violin ever. It weighs ~445g.
  4. Basic Acoustics Resource

    Yes, many Stradivari have had arching correction as have many fine bows. We expect some movement in wood under stress and I would not categorize it necessarily as a failure. I would say a breast patch is indicative of a structural failure though. In the Huberman case I would say the thinness of graduation (whether that is original or not is hard to say) lead to arch deformation. PS I don't think Stradivari made double hump camel back top arches.
  5. Basic Acoustics Resource

    Without being too contentious there are few premises that I would challenge here. First, the Gibson has clearly fallen over the edge of failure and that is why it required a patch and probably now may only be at the edge of failure and function better. Secondly, I don't hold that if it's lighter it's better. My singular example would be the Canon Guarneri del Gesu. At 444g it is grossly overbuilt yet it was considered by Paganini, arguably the greatest violinist of all time, as the greatest violin.
  6. Basic Acoustics Resource

    thanks Marty
  7. Basic Acoustics Resource

    Once I get the wood back in the workshop and it is time to make fiddles then I get very exacting but I'll know that all the wood is in the ranges that I prefer.
  8. Basic Acoustics Resource

    I guess it all depends on your perspective of precision. Personally I don't need to know exactly what something is but only approximately what it is. I follow the Goldilocks Rule. Is it hot, medium, or cold? My initial pass in the wood yard is all visual. Is the grain straight, is the split good, do. I like how it looks. The second sorting is more technical. With an iPhone, metric rule, and pocket calculator you can measure the speed of sound in under 30 seconds. In the lumber yard you can divide the wood into low, medium , and high speed of sound quite quickly. the same goes for density. If the wood is fairly uniformly cut you can get low, med, high very quickly.
  9. Basic Acoustics Resource

    Or develop techniques that allow you to sort wood quickly.
  10. Basic Acoustics Resource

    I guess, if you count a breast patch and arch reshaping 'holding its shape'.
  11. Basic Acoustics Resource

    If I take the cross section of the arch and combine it with the Young's modulus is that a section modulus?
  12. Basic Acoustics Resource

    I make no arguments about the sound but only point out that if we want a piece of wood to hold the shape we give to it we should be cognizant of the materials limitations.
  13. Basic Acoustics Resource

    Hi Davide, I give this fiddle as an example because it is so well known and archived. It shows how some very basic techniques can aid us in improving our work. my guess is that the arch was original a bit higher if we account for the sag in the middle. Perhaps 1 mm maybe more but probably solidly in the 15+mm range. This would certainly help hold up the arch but I think the principal culprit here is the thin graduations. Strength comes from a combination of arching and graduations. With .35g/cc anything less than 2.5mm is asking for trouble. changes in the arch shape do not change the speed of sound in the wood or the modulus of elasticity. Those qualities are inherent to the material and not shape. i believe they call the strength of the shape the 'section modulus' (?). (Can I get some help?) The language of science helps give a name to empiricism.
  14. Basic Acoustics Resource