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Jedidjah de Vries

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  1. My two takeaways from this thread are (1) I am on the slow but still acceptable side of fitting a bass bar, and (2) MN continues to be full of unnecessary rudeness that make it difficult to find the good stuff.
  2. A number of folks have mentioned that the cheap mass produced bows being made are not in fact pernambuco. (1) Out of curiosity, do we have any idea what they are? How can we know? (2) Is it a problem that they continue to be marketed and sold as brazilwood?
  3. Sadly, no. This is not to pick on specific retailers, since the practice is widespread, but just by way of example: Shar has a bow for $35 and Fiddler Shop has one for $45. There are, as I understand it, two fundamental issues. First, we don't know where a lot of the pernambuco is coming from and can't be sure it's being harvested legally. There are efforts being made to address the poaching. In the mean time, for now, it's safer to stick to either older bows or bows from makers who can vouch for their sources. And second, that there has been for a long time, and continues to be, a practice of making very cheaper lower quality bows (with cheap labor) that are sold for less than the cost of a rehair. And that this disposable mentality shouldn't be acceptable when dealing with such an endangered resource.
  4. I think they mean the exact opposite of 50 year old school bows. I imagine they mean the many (many) cheap mass produced bows that shops buy and stock for rental fleets and for sale.
  5. The VSA posted this last week on Facebook, along with the text bellow, in case folks missed it:
  6. Anywhere. Otherwise this act is getting boring. Do you want to be helpful to the community or do you just want to smugly tell people they're wrong? “I gave some thought to this and arrived at the conclusion”…but the details are secret [“private”] and supposedly too technical for us to understand neither inspires confidence, nor is it helpful.
  7. That’s not what it feels like when you’re trying to make a living! And wouldn't an engineer build models, run tests, work off of existing structures etc.? It's not like they sit down, do some calculations, and presto, build a one-off design. But, more fundamentally, I think that analogy gets the problem slightly wrong. The violin isn't an engineering problem. It's a craft problem. The engineering bit is mostly done. It's how do you go about picking pieces of wood and (reliably, repeatably, somewhat efficiently) crafting the darn thing. The kinds of answers that address this, I think, are ones that speak the idiom of the craft mode of production.
  8. Yup. I feel the plate in my hand, flex it, etc. Then I weigh it, check the thickness, and thump it (which I assume to be a very rough proxy for stiffness + other stuff) just to reassure myself that my sense of "normal" hasn't drifted too much. And then I promptly forget all the numbers and keep going. Violin acoustics has come a long way. But I think we still tend to fixate on things we can easily measure. First it was graduation patterns, then wood density, then tap tones, and modes, and now radiation and admittance. Not saying that stuff doesn't mean anything. It sometimes feels, though, that we are being driven more by our measurement devices than by good questions. This, by the way, is why I like making violas. No one knows what's supposed to happen with them so no one bothers you with this stuff.
  9. I think you're right! I guess there is a "new crystal" that has a different winding than the old "crystal".
  10. Corelli Solea, I think. https://www.savarez.com/violonsoleacorelli-solea
  11. Even if they aren't astrology that doesn't mean (a) that having numbers that are very different from "normal expectations" will necessarily be a problem and, more importantly, (b) that forcing the numbers to be "correct" will improve the instrument. If you are consistently using more or less the same wood, and more or less the same outline/arching, then checking whether your weight and tap tones are more or less the same as usual might tell you something. In this case we don't know much about your wood, outline, arching, etc. So it's possible that you have a whole bunch of extra wood there compared to "normal expectations." But, it's also possible that something else is different from "normal expectations." For example, your arching may just not allow for the M5 you want. That doesn't mean it's going to be a bad instrument though (or, even if it does, it doesn't mean that messing around more with the graduations is going to "fix" it).
  12. And like astrology, it's very comforting when it happens to agree with what you were planning on doing anyway!
  13. I have the anecdotal sense, both from experience and from this thread, that there is a slight geographical split on this. That in Europe the outside mold, while perhaps in the minority, still has its adherents, and that in North America inside molds are absolutely de rigueur (with at most, the rare experimental Brescian build on the back exception). Does that sound correct to others?
  14. Given that pernambuco is endangered and that CITES related restrictions are only likely to get tighter with time, and that propper provenance and documentation for the wood is difficult/impossible it strikes me that using pernambuco for fittings is, at the very least, just asking for future trouble, and likely unethical even in the present. We have so many alternative options for tailpieces I can't imagine what (probably marginal, if any) acoustical advantage could justify their use. All that said, thank you for sharing that study! Other insight into what kind of effect tailpiece material has would be interesting to hear.
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