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reguz

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  1. can't find but you could gave us the link
  2. Thank you for answering. Yes it is very difficult saying this will be the result or this will be better. However some structural condition has impact on how the instrument may deflect and by that the stress condition that has direct influence og the acooustic aout come. STL does not have anything to do to point into the scoop. They are on arching shape. Enclosed an exaggerated arching shape done in the word program.
  3. Dear Hogo, looking again to the two pictures and compare we observe CREEP I believe. The action on the end block by string load has "buckled" the length curve shape under the finger board. The higher curve by buckling this is creep. This buckling as it does on every instrument happens between the end block and the structure between the upper F-hole. On the other side of the F-hole location we find a downward bending by the load from the bridge while the sound post has not movement since the sound post is the pivot. Also, the other bout shape which I cannot observe on the images must become forces buckling outward. Principally we thus see two outward buckling structures which chords line become shorter while the structure on the "island" become forced down and a chord line on the outside of the instruments shortens. Increasing forces on the end block thus is the result of this behavior. When string load changes as it does in the playing action the deflecting behavior, we see becomes dynamical structures start flexing. The stiffness quality of that behavior over time produces the creep we observe. Earlier on this tread both Don Noon and I have shown cross sectional images that show what is described above. It is quite easy improving the dynamical behavior by on the outside after the instrument is finished removing either varnish or scraping wood. Increasing dynamical behavior increases the constantly changing of the volume in the box. That result in breathing and sound projection at least by my own experience. In fact, it’s very sensible to do so. Over time we will find the creep we see. Thank you for showing these foto's
  4. Dear Hogo The upper foto shoe what I can see a radii tha not end at the rib but the block. This means that the scoop shape is wider at least at the neck side. I'm I right? The lower radii ends longer out on the rib at the neck?
  5. Dear Dennis. Many years ago I made a study how cross arc shape and out line make the connection with the scoop. Here some of my drawings lenght arc back20220503.pdf 3 crosssection arc back20220503.pdf
  6. Dear Dennis, About plate edges thicker. Take a good look at the iso lines I have made and the base line. The base line follows at the highest arc location of the instrument layout. Make a cross section using a compass and then shape the scoop. You will find that it will be difficult making the edge shape lower to a level like the condition on widest bout shape. This means it is pre directed. what it will be giving the smallest cross section a specific radius. Making a less radii you will have more space making a scoop that may result in a lower edge high. I do not know which arching method you us but my findings tell me the geometry I found show arching shape equal the early instruments.
  7. With "act on" means the location where the action of the load start its action. When this happens the instrument start deflecting and just as you correctly say this will change position, relative to other parts of the violin, thus static deflection. String load act on the end blocks and produce action on the bridge. Primary we thus have 3 points on which we find action. TWO inward/upward at the end blocks and ONE downward on the bridge. These are the forces shown as the main vector forces shown on the vector diagram that only show forces acting on the violin body. But of cource the neck etc also are affected.
  8. Dear jezzupe, We are talking abouit the function of the violin not moving somewere in space. I'm talking about how the violion structure deflect by strung load. String load act on the end blocks and have a downward resultant forde on the bridge. Not making conditions to complex I show the bridge/sound post in line and the vectors show how equilibrium arises. Question do you understand the vector diagram? David Burgess say; Show you one what? I won't be removing my pants until later tonight, if at all.. He say I'm wrong but cannot come wit any proof.
  9. Dear Greg You seem to forget that there are corces acting on the instrumnent. No forces and you cann take any point you like as a referens point describing is structure but you cannot when forces act and you muste describe the equilibrium state related to acting force. If you have another solution as I have shown so please do that.
  10. Dear Greg. You seem to have another solution mine. Please let is know this by showing your solution producing euilibrium state. Enclosed also a problem for you to explain. Greg.docx
  11. Dear David, Show me one you like to relate to! Other also like to see!
  12. Dear Dr. Mark it is vey sad. I suffer from dyslexia and use a spelling program that transform some times words. It also happened with Hugo. I appoligy.
  13. Dear David You write; "Both the neck and the chinrest areas are contact points for the player's body, so these in fact act as the support points for the instrument during playing. The instrument is not supported at the soundpost area" You are correct the instrument is not supported at the sound post. I never have said this at any time.
  14. VSA Stoppani.docxFor a long time, I have tried to make it for you understandable how string load act on the instrument. You all know my point of view that it is the end blocks that move in relation to the soundpost. I have also discussed this with C Gough and G Stopping. Today my eyes came on the video from the Acoustic seminar with G Stopping. I ask you all to take a good look on what the video images show. The end blocks are in fixed position while the bridge/sound post and almost all structure on the instrument move relocate in relation to the end blocks. After you once again study what the vector diagram shows now look at this video, I hope you understand that Stopping is completely wrong when he shows something that is impossible producing on any violin. Still, this is what the VSA and their many violin makers are learned understanding.
  15. Dear Dr Mark. Do you realize that the structure of the violin Gough made has little to do with a real instrument? Using such structure in FEA may look nice but will not give the violin maker any usable information.
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