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H.R.Fisher

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Posts posted by H.R.Fisher

  1.   I would be interested in understanding more about the influence of the violin back.  In my limited experience it seems to me the top plate is the

    primary or the more significant factor. So what are the tonal and playability contributions of the back ?

                                                     Thanks  Henry

  2.   What are the various techniques used for violin shading. I currently use a mixture of linseed oil an tube paint and apply it with my fingers and than feather it out by dabbing it with a fine bristle cosmetic brush. This works pretty well but it does compromise the transparency somewhat. I would like to know what method others are using.   Thanks in advance , Henry

  3.   I would like to better understand  what effect the bar angle, weight and design have on tone and playability. 

                                                                         Thanks in advance for your responses,   Henry

  4. 8 minutes ago, Don Noon said:

    Probably not.  If you thought understanding modes was difficult, just wait until you try to figure out what you want the modes to do and how to change construction parameters to get it.

    And then there's the all-important mid and high frequencies, where it's too complicated and variable to even attempt understanding it with modes.

    Oh wow!!  Perhaps I'd best go back to farming.

  5. 11 hours ago, Michael Richwine said:

    Rare or not, that does sound like a wolf. The  suggestions that Michael Darnton made that helped me the most in that discussion had seemingly little to do with modes: I found that a much tighter post than I was accustomed to, placed farther inboard and closer to the bridge foot than my normal "home" position helped a lot more than any other placement I've tried so far, and I've tried a few. As time allows, I'm trying different afterlengths, different tailpieces, different chin rests, dabs of blu-tak here and there including under the fingerboard,  and at spots in the top just in case, to chase down the remnants of the wolf that are still there.  These, if successful, may relate back to modes, but I'll have to look at the results first to see if they lead to any sort of generalization.  My violin, to start with, was "wolfy" and unstable all over, and the post changes have reduced that wolfiness about 95%. Now I have what I consider a rich, colorful violin with a shy wolf that can probably be subdued with skilled playing. I'm not done yet, but I'm in no great hurry....

       Yes, been there done that,I'm hoping to eliminate having to do all these adjustments by preempting in the building process. Perhaps having a better understanding of modes might be helpful to that end.

  6.   Well whatever it is it usually occurs around the C note on the A and the G string.

    A warbling unclear note that perhaps sounds more like a yodel. I am still learning.

                                                          Thanks for your response,  Henry

  7. 25 minutes ago, JacksonMaberry said:

    I think it can be helpful to consider this stuff, but by virtue of the fact that the instruments we're trying to emulate were made in an era where this stuff was not considered, I opt not to wrack my brain. The fiddles still sell. 

     Yes" helpful to consider" Any information whether practical or technical is certainly of interest to me. 

  8.   As a self taught novice I am trying to educate myself on the finer points of violin tone, playability and especially in dealing with wolf notes.

    The current pegbox discussion has aroused my interest in trying to better understand  frequency modes.

    would someone please define In very elementary terms:

    AO,    B1,     B1+,     B1-,           signature mode,        and     dB                                                 Thanks  Henry

     

     

     

  9.   Since in my previous post it was not recommended that I leave a violin in a UV light box for an extended time,I remember hearing about ammonia fuming, I think it is used to darken the wood. Does anyone have experience with this process or know where I could get info.

                                                                                                                                     Thanks  Henry

     

  10.   I have a uv box with 4 ,20 w bulbs.. I will be going out of town for perhaps six weeks or so. I am considering hanging a white violin in to darken it till I return.

    Is this a too long? I never left them in the box this long before. What are the consequences ?  

                                                                                                                                             Thanks Henry

  11.         On my latest violin there is a bad wolf  on the b note .I can correct it by putting a lump of sticky tack the size of a small grape on the upper left lung about 1" in from the edge concave  area . Im considering taking the top off and putting a patch under that area but am loath to do so. What are some alternatives that are less invasive. Would appreciate your help/ thoughts.        Thanks in advance for your consideration   Henry   

  12.  As an amateur maker i have found that giving attention to weight is more important than messing around with plate tuning. Plate tuning is somewhat like taking your blood pressure,it may be one indication of your health but proper weight is of greater importance.

  13. On 7/31/2021 at 12:23 PM, uncle duke said:

    I realize you two are the award winners around here but I must ask - how many grain lines per inch?

    The grain width of 20  to 22 gr per inch. So my question is what shape, hgt, thickness should I shoot for for best results?

                           appreciate your response,  Henry

  14.   I have a piece of fine grained 32 year old spruce top  with  SG of 45,  I'm soliciting your advice on the particulars of how to work with this density. Your input would be greatly appreciated. Thanks in advance.   Henry

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