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Michael Darnton

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  1. @Brad Dorsey Cork! Why did I never think of such an obvious cushiony material???
  2. @Don Noon Yes, I am. Perhaps I have confused you with someone else. . sorry.
  3. But if you attribute the problem to slip-stick, then you end up like Sospiri, blaming the player, or alternately, the hair, the bow, the rosin, etc. Bad theory is misdirection. "Alzheimer's disease is thought to be caused by the abnormal build-up of proteins in and around brain cells. One of the proteins involved is called amyloid, deposits of which form plaques around brain cells. The other protein is called tau, deposits of which form tangles within brain cells." This statement, from the NIH, is based on experimental results from one experiment done in 2006. I was reading the other day how within the last 2 years it was discovered that the research is essentially flawed or even faked. For all that time, nearly 20 years, research in Alzheimer's has been pointed at the amyloid theory, delaying effective research ever since. This isn't the article I saw, but another: https://www.science.org/content/article/potential-fabrication-research-images-threatens-key-theory-alzheimers-disease Please to remember, Don, how 15 or 20 years ago I was calling tuning theories bullshit and you were defending them. How long were you delayed in your own development by pursuing that blind path?
  4. Except that it only appears surrounding the wolf, and if there's no wolf it's not there, and the same treatments make them go away together, proportionally. I don't see how you can disconnect it from the wolf, then. In my world real world results trump theories every time. I'll still maintain that slip-stick is an effect, not a cause.
  5. I'd argue that any bow slip is a coincidental effect, not a cause. Evidence for that is the effect of a normal high G string c or c# wolf expressed on the A string first position where it (the same note pitch) messes up all of the first position notes by turning them fuzzy. I'd call this a wolf effect as much as the wobbling growls are, and treat it as such, and I don't think it's because the bow is slipping on all of those notes. The instrument is simply unable to agree to resolve itself to get together all at once for those notes to such an extent that it fouls the notes.
  6. Most or many of them, some horrible. It seems that working on the edge of wolfs is where instruments become the most impressive. Take all of that away and you end up with something pretty boring.
  7. For 15-20 years I've been working along that line, trying to break things up rather than unify them. Untuning. Bring in uncontrolled vibrations rather than trying to turn the violin into a bad synthesizer. There are a number of ways to accomplish this, but I've come to the conclusion that the differences have to be striking to be audible. For a while I wasn't using my calipers to graduate, to try to replicate the large inconsistencies found in old violins, but I don't think now that this was radical enough. Currently I'm working on the idea of constructing a limited number of strong "instruments" into one. Even one additional "instrument" seems to have a large desirable effect. You can bookmark this for 10-15 years down the line when someone reading this now works this out and claims to have "invented" the idea without stating the orignal source. I've seen that happen :-) I've already passed the idea and my preliminary methods on to a few people who tell me they are using it successfully.
  8. @David Burgess I nominate "wobble force" for entry into the official Violin Maker's Lexicon.
  9. To which end lowering the bridge or flattening the string angle can help a wolf. Less instability, I think, rather than a pressure issue, though there is also obviously a change in pressure which affects other things than the wolf.
  10. When it comes time to glue make a block that matches the curve of the block minus the neck and cut a notch out for it to go over the heel. That way you can clamp in the center of the block and your clamp won't slide off. Face the block where it touches the rib with something soft like thick illustration board, waxed so it doesn't glue to the rib, and make sure the fit to the block is perfect!
  11. I met someone once who said that he'd solved the problem of wolves and that it was two strong body and/or air resonances that were very close to each other and which competed, and that you could remove the wolf by tuning them relative to each other--he didn't say whether closer together or farther apart. He was very secretive about what he was doing, but none of the maybe 5 instruments he showed me over a year or two had any wolf at all. That was before I realized that it's possible for an instrument to have many smaller wolves, all over, and that this is part of what makes instruments interesting, if they's in the form of small texture rather than large interference, so I don't know what he'd say about that. It's certainly possible that small areas are creating all sorts of small resonances and that these should be fighting a whole bunch of tiny battles in the background, some textural, some problematic. I have always suspected that this is why I don't much care for violins from tuners who appear to be working to eliminate that very source of interesting artifacts. My perception, not an analysis or formal model, is that often the main wolf is two different notes fighting for precedence and that on some instruments it's clearer than on others exactly what these two are as the pitch of the note very obviously tries and very briefly succeeds in moving from one to the other rapidly, creating the wolf. So I'm leaning towards the fighting resonances model. I don't follow the problem enough to know if any of the acoustics peoples' models agree with that. There are so many different models that it seems obvious that a lot of people are wrong. :-)
  12. I *think* that Jerry implied that moving the post closer to the bridge moves the bowing point closer. I think....
  13. Putting the post even with the foot or even farther out is one way to attempt to tame a G string that's doing the dark wubba-wubba instead of a crisp clear note. I think the idea is to pre-load the bass side so that it's not so floppy. I've never been sure that it works for that, though. Another way that's attempted for the same effect is to fit the post tighter, maybe a lot tighter, in the normal position. If you do that the wubba might go away and simultaneously leave the E more normal, and I'd first try putting the post in a more normal N-S position as well. I do know from experience that a tighter post will also cure wild notes on the E string, especially in 1st position, so that might kill two birds at once. . . . If it works for the G string. I've found those ideas not really sufficient for the G problem for my taste, but they're ideas that are out there in circulation, and not hard to try. . . . Assuming that I've read your problems correctly, which maybe I have not.
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