Davide Sora

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About Davide Sora

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  • Birthday 01/07/64

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  • Location
    Cremona, Italy
  • Interests
    Violin making

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  1. plate tuning specs ?

    No one beats Vigdorchik, that's tuning!! If this starts to make sense, it's time to go to the psychiatrist..... Yes, I have that book.....
  2. Baroque bass bars

    Not really, but to be sure I covered my webcam with black tape....
  3. Baroque bass bars

    I can confirm this, yesterday was snowing and today it's raining. Apart from nowadays, at the time of Stradivari the Po river passed much closer to the city (almost "in" the city) than it does now, so I suspect that the humidity was very high.
  4. plate tuning specs ?

    I learned a lot thanks to the initial input of Hutchins, whose work I respect a lot, but then I took my path following my work, not that of others of which we never know enough in detail. For example, what you report from her writings has no meaning without knowing what weight and type of arching we are referring to. I've never heard Hutchins violins either, but what I know is that her systems do not work well with my violins. It is difficult (almost impossible?) to have data on top and back tap tones ratios of famous violins for obvious reasons, and I do not know on what statistically valid data Hutchins could formulate her theories, but as regards the top some data that at least contradicts his octave tuning theory can be found : http://josephcurtinstudios.com/wp-content/uploads/2013/09/StradTapTones.pdf
  5. plate tuning specs ?

    Maybe tomorrow, if you have the needed luck. The real problem will be to be able to make excellent violins with a certain constancy, not just one.....
  6. plate tuning specs ?

    Not necessarily, do not trust your resource too much.... I'm not saying that they can not be the same, but if I were your resource I would tell you not to worry too much about the M2, I would say just to separate it from the M5 in the top as much as possible (more than an octave), in the back might also remain the same (of course an octave below). But then again, do not believe too blindly what you hear from others (me included), especially when it leads you to do strange things with thicknesses that you have never seen in good violins, which are the only true resource to be trusted. I warn you, no one has your plates in his hands and so can not have the full picture to be able to make accurate decisions.
  7. Curious about this grain pattern in spruce violin top

    Scrapers are very versatile tools depending on the type of sharpening, the way with which the cutting edge is turned that determines their aggressiveness, the pressure and the angle that is held during working and the cutting direction. Also sandpaper can be used with more or less pressure and with different grit with different results. What I have noticed is that with scrapers, the compression of wood is practically inevitable while with sandpaper can be reduced almost to zero, obtaining smoother and flat surfaces. This is particularly noticeable after having wetted the wood raising the grain, which at this point is more marked with the scraper than with the sandpaper. But I must admit that I have not explored all the possibilities with the latter very much, since I abandoned the use many years ago for the surface finishes and I never looked back because I hate to breathe its dust. Regarding Stradivari's sword blade scrapers, we really don't know if they were the only ones he had, apart from the fact that those in the museum could most probably come from Ceruti. I do not want to claim that my way to finish is equal to that of Stradivari, is only what I prefer for my instruments and that I think is closer to the appearance of the wood that I like on some ancient Cremonese instruments, but not all are the same and I even might be wrong, sometime.....
  8. plate tuning specs ?

    Don't worry, I have come to your same conclusions, no magic modes tuning system can predict the future..... I started trying to understand what were the notes you hear by tapping the plates when I realized that in the cello for some years I mistakenly exchanged the M3 with the M2 and despite this the instruments worked well, so I began to think about the usefulness of this kind of thing.... A vaguely useful thing is that if some modes are not heard distinctly, it means that plates are probably still too stiff and you can go on thinning, also useful for bassbar shaping expecially with M6 that I call bassbar mode because you can't hear it without bassbar, tapping and listening by ear only (no Audacity). M5 and M2 are the best relative stiffness indicator, M1 may give some clue, all others modes are totally out of control and nothing else can be done but listening to them taking notes (need only few seconds, so why not....) If modes frequencies stay the same might be an indicator that you can go on thinning that area till they start to go down, paying attention to the edges because it is misleading as you say, best to use your common sense for this area, not mode frequencies. Last but not least, very useful to impress people who will believe you have some magical tuning system, even if you insist on saying it is not true, they will believe that you do not want to reveal your secrets gained through years of experience..... Oh, I was forgetting the most important thing, that's fun !!
  9. plate tuning specs ?

    Yes, I tap on the rear and put my hear (or the microphone) on the other side to listen and catch the note.
  10. plate tuning specs ?

    In case you are not yet sufficiently confused, this is my scheme to listen to tap tones, with indicated the grip points (presa) and listening points (ascolto). Have fun!!
  11. Curious about this grain pattern in spruce violin top

    Dull scraper? I do not know what they are.....
  12. Swedish scroll gouge set

    Sorry, too costly to giv'em a try.....
  13. plate tuning specs ?

    To add a bit of confusion I can say that in my violins the M5 of the top is normally higher than the back, sometimes equal, rarely lower (but this happened too). Needless to say, they all sounded great for a musician or another (not everyone always agreed....)
  14. plate tuning specs ?

    I'm curious to know why you indicate a single tap tone note and then make a list of modes. Tap tone notes correspond to the modes frequencies, so you should hear a F for the M2 and M5 of the back, and a F# for the top M5 and Fa for the top M2. I agree with Don, nothing strange with your modes, the back a bit heavy that at that frequency says maybe a bit soft or a bit dense wood.
  15. Baroque solid ebony fingerboard?

    In the Guadagnini's estate inventory drawn up at his death, thirty ebony violin fingerboards are listed. In the year of Our Lord 1786. (from Duane Rosengard, Giovanni Battista Guadagnini)