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gabi

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Everything posted by gabi

  1. gabi

    I'm back

    well well ...I'm back after a ten years or so hiatus , only to notice that there's hardly anyone left from the old guard where is everybody ??
  2. they are both self described Amateur players as for the bulk of "Professional" players involved in the study they are here http://www.violin.org/2010comp/participants.html
  3. this is absolutely amazing, for those of you that didnt open the link, go now and read a few pages it'll make you wonder what's next hundred years gonna bring in the violin world...
  4. well..your example has nothing to do with physics
  5. What makes you believe dedamping by playing is not real?
  6. Don is right about the freq of the wings,they are around 1700 hz also,Don, im glad you changed your mind about damping,and you see it now as a quality, at least for the low freq Anders,all this 'data' has to be read carefully because in real life the violin is constantly subject to dedamping by the player,by playing, and also damping by holding. it will be really interesting to collect data after several players play the same violin and see where those values are after each player you'll be surprised!!!
  7. in my experience higher Q's are detrimental to vibrato, it makes it sound like woa woa amplitude modulated, frequency modulated vibrato sound is more desirable,and thats where you need low Q's all this is really easy to see on a real time analyser
  8. thanks Anders, maybe you can persuade the author to start posting on MN. this subject is very important because thats where the violin sound it all begins,in the bow/string interaction,
  9. gabi

    spider strings

    http://www.gizmag.com/spider-silk-violin-strings/21807/
  10. dont forget the rentals, i constantly see rentals worth less than 5 bucks rented out for 30 bucks a month,for the whole season just about every shop in my area has a few hundred instruments out on a rental you do the math
  11. http://www.physorg.com/news/2012-01-modern-alchemists.html
  12. the ear perceives sounds with rich higher partials as lower in pitch , and sounds with strong fundamentals and less partials as higher in pitch , for the same given frequency. play a note on a piano and listen all the way until the sound decay complatly; towards the end when only the fundamental remains the pitch will seam to go higher
  13. for me this is the most interesting part from Laurie's blog "I was then presented with 10 pairs of violins. For each pair, I had a minute to play whatever I wanted on the first violin, then a minute to play whatever I wanted on the second, without switching back and forth. After playing each for one minute, I was asked to choose which of the two I preferred. Then on to the next pair -- 10 times altogether. I thought I was testing 20 violins! As it turns out, I was testing 6 violins, just paired up differently each time. One always was an old violin, the other was a modern, and they used different combinations against each other." i sounds like she didnt realize there were repeating violins into play, i wonder if any other testers notice or not the repeats. im pasting this from the locked tread cause nobody picked up on it yet maybe Arriane will give us her insight since she posts here
  14. for me this is the most interesting part from Laurie's blog "I was then presented with 10 pairs of violins. For each pair, I had a minute to play whatever I wanted on the first violin, then a minute to play whatever I wanted on the second, without switching back and forth. After playing each for one minute, I was asked to choose which of the two I preferred. Then on to the next pair -- 10 times altogether. I thought I was testing 20 violins! As it turns out, I was testing 6 violins, just paired up differently each time. One always was an old violin, the other was a modern, and they used different combinations against each other." i sounds like she didnt realize there were repeating violins into play, i wonder if any other testers notice or not the repeats.
  15. Don , the question is whetear a DIFERENT player would change the spectrum.Take the mesurement after you play and give it to a different player to play it hard , and take the spectra again .Compare the two or for the same player , after playing hard in two different rooms,.Try widely opposite rooms acousticly speaking,for starters
  16. so then would you agree that if the test would've been conducted in a different room the results might have been totally different?
  17. why wait for "someday" ..we are in 2012!!! (take it anyway you want ) did you propose such test at Oberlin? Do scientists know of this possible phenomenon?Would they be interested in it? you obviously have an inside since you attempted yourself, my own fft tests show a glimpse of reality,but definitely at Oberlin there's plenty of first class equipment to conduct an objective experiment. I mean common...we are not looking for the Higgs-Boson particle... ok i posted this before i saw your reply... i guess i should go look for the bonerometer
  18. "It might need an artificial acoustical environement to get it to work. Not an easy test to conduct." actually is not hard at all, ive done an experiment like that you can use a room that has a piano in it , that would be your "artificial acoustical environment" ;By pressing a piano key and hold down(i just tape it down) you create an artificial room resonance at the freq of the key.You can also press multiple keys at the time. Play the violin and periodically change the the key you tape down, and see how the violin responds/sounds .Try all registers,and multiple freq i've done this with players and all notice a difference, even some of my students. this is just a crude test ,and doesnt reflect the whole aspects of room acoustics, but one thing it can reproduce REALLY well is the acoustical effect of fixtures in a room.Lamps, air vents,all sort of glass stuff have well defined pitches,with very high Q, that contribute to the overall acoustical fingerprint of a room.
  19. David, infusion is a term i use for the simplicity of the description, its actually dedamping, and no it doesnt affect every instrument the same. high freq dedamp faster than low ones,and the rate of progress is related to the room acoustics,and player input. now we know that same violin can sound different when played by two different players, what i'm saying is that the the player leaves a "personal mark" on the instrument and the difference can be accounted for in fft spectra after the playing is done.Very shortly after would give the best results.
  20. Anders nobody's talking about a different fiddle,but the difference can be good enough to make one chose a violin over another, thats what the strad vs modern test was all about, right? If you are conducting similar tests like the ones i propose what are the results? Did Claudia proceed on the strad/modern test having conflicting results from previous tests? the points that i make in my previous post are well known anecdotal facts among players,and im convinced that in a well controled scientific test they will prove true.
  21. Martin, the test is flawed on multiple levels 1. give your violin to a good player and let him play it rather well for a good few minutes, than take it back and play it.Same room same bow.Does it feel/sound the same? If you're good enough player,and done this before you know the answer is NO the reason is every player infuses an instrument with his own personal "touch" and is gonna try to drive it where he feels the synergy will be the best.Its an instinctive thing .The problem is not two players are alike,and each player will "drive" the violin in a different direction, based on personal taste, physicalities, hearing level etc. the differences could be quite dramatic depending on the player/s now on our test we have a bunch of players playing on violins left "infused" by the guy in front of them.What's the real sound/response then? 2.take your violin and play it in different rooms in your house.You are gonna like the sound/response the best on a particular room, and the worst in another room.Now suppose the test is done on the room where your sound/response is the worst, and against a violin which does better on that particular room. For the Oberlin folks i propose you test my scenario scientifically so you learn a bit more about how a violin works, its really easy to do and doesn't take much time at all.I've done it and i know it works. a ) take a bunch of players and give them a violin to play in the same room with the same bow.Take the fft response after each player plays it, and you'll see there's gonna be a difference in results after each player. b; same player differnt rooms, take the response after each room.
  22. Don "The bridge response line is not claimed to be the perfect reflection of the instrument, but it is pretty good, and the best quantitative measure around" "I find the most interesting result is the tap on the lower trebel bout, where there's a VERY strong (and audible) response that has no matchup whatsoever in the bridge response. This is one of the problems with local tapping... you may be exciting very strong modes that are in no way coupled to the bridge, and therefore are red herrings." not really, dont forget the string has two vibrating ends, not just the bridge side, but what happens to the vibrations to the other end? ,in contact with the fingerboard/neck ,do they enter the corpus or not? Oded's method accounts for that
  23. http://medicalxpress.com/news/2011-12-told-fake-brain-response-art.html
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