reguz

Sorry but this is a complete misunderstanding. lenghtening the after lenght requires higher tension on the string producing the intended pitch frequency on the string to play. The tension on the string is always equal on both side of the bridge. if the after lenght is changed the tension on the string must chamnge making the intended pitch frequency

My experience is that the frequency that cause this problem comes from the vibration on upper and lower bout acting with minor differens in frequency. The instrument do not know what it should hold and jumpe between two close frequancies, TH WOLF. Making these two close vibrating local structural area different in stress condition or equal the Wolf disappear. Easiest is separating the stress vibration on one of them . I have tested this for many years and do it by rubbing on the varnish. Not much is needed to fix the problem. The stiffness changes and the frequencies that make the Wolf become separated and disappear.

Only bad words

Only bad words

So the master says not able responding

Only bad words nothing else

But you did not and cannot

Dear Dr Mark. Once again, an attack on the person not what is written. It may satisfy you but do not give any answer on the function of the instrument. Center of mass? Why center of mass? For what? When you put strings on the instrument the strings act at the end blocks and produce a resultant downward force. But for the instrument much more important a moment of force bending over the the sound post. When this happens the framework with STL condition do not deflect that structure. The curved bout shapes will do MUST DO. understanding the quality of the buckling and bulging of the bout shapes give us the result of the instruments behavior and sound production. Important for pizzicato. People came to Joacim the great violist with their instruments asked him can you play and give your opinion om the quality. Joacim only played on the instruments with good pizzicato response. WHY? yes it tells us about the duration of vibrating quality. A structure that vibrates can produce sound!! When an instrument has STL framework its other structure thus the curved shapes that can vibrate by that the hold spring function. The quality of the framework makes it possible improving spring function on the bout shapes. They become possible making thinner. No STL framework in optimal condition and spring function that is in bad shape the longtime creep deform the instruments vibrating structures and finally collapse in relation to its very first state. What you try to achieve show what kind of person you are. DO NOT READ WHAT REGUZ DESCRIBE. WHY?? Yes, only because Dr. Mark DO NOT UNDERSTAND. There is much I do not understand and continue my research 40 years now. When I show my result there come no answer. YES, on by you "the center of mass”. You can do better!!! I constructed the arching shape by having equal structural condition between the upper and lower bout. They thus must hold different stiffness condition but can be made equal by thickness graduation. Thus, we have principally to do wit TWO instruments functioning at the same time. This is what I have constructed and found to be present on the great master’s instrument.

Dear Martin. Of course there act a downward force at the soundpost but also an upward force. look at the vector diagram. there arises equilibrium state by these forces . If not the instruments start moving in some direction. Does it? Many years ago now J Curtin observed that there was an local outward deformation at the location of the sound post. He told that thsis was that the pressure on the top plate caused this. I say, You are wrong Joseph . What you see but do not understand is that the end block pull upward and when the thickness location at the back at the sound post location is to thin you will get the result you see. There arises a local deformation but there still is equilibrium state and there is no longer sound post.

Dear Wood Butcher. I have explained how I found what I call STL condition. That is on the outside of the arching. When also the inside hold a STL condition at the sam location whe find astructural condition . That condition produces a truncated pyramid. The belly and back together makes a octrahedron. With the sound post as a colum beteen the bellly and back we have a very strong fram work. By studying the STL condition in Cremona on seral instruments I found STL condition. Thus a excisting framwork. I also did on caster plast of Stradivarius. Once I hold a wotrkshop at Francesco Toto with 15 makers. The omly maker that could show very precice STLs was Francesco. How could he? He went to his back yard and came with the caster plast. that showed these STLs. Toto had made what we cal the "SIX" using the caster plast and when he shaped the arching it became precise the result as I found in my research. Attending whre Michele Dobner, Caspar Borchardt. So if you like to have a confirmation ask them. From this I say the frameqwork is stable. This is also what the Master dessartaion found. You wher abel raeding the dissartation earlier.

Dear David. It is not about what I have decided. It is about what I have found a 2D and 3D structure that fit in perfect on the violin structures of instruments by Stradivari and Guaneri and of course other makers. I also find out by the master dissertation that what I call STL condition do not deflect and that the sound post does not move by increasing string load. The vector diagram show proof of this. One cannot move/force down the pound post. If any can please show me and describe how this is possible. On the structure I show this is not possible. If David has an answer on that I hope he will describe for us.

I just wonder what this all is about. It is not about violin structure and function. Almost all have to say something but it is not about structure and function. This is possible depending on I DO NOT NO ANYTHING I might be I do not understand the answers given but they are not about structure and function

Yes, Dr Mark, my English or American if you like is less good. A spell checker could help. With math you can do a lot but violin makers do practical work and do not understand how an instrument should/can be hold observing structural deflection by string load alt increasing string load. Nigel Haris did well but mist using the right location to measure from. You are able to read what I did finding out better by using his figure calculating from the sound post. However, his chosen points (four) still move equal in spite of doing diffrent when measuring from the sound post as I say give the right information. Could you show how a practical measuring would be done by you using the bridge. I am sure makers like to see and possible do by them selve. Thanks in advance.

Yes Don Noon. it is exactly as you say "some kind of frame structure" there must be. Read again my internet site www.zuger.se and try to understand what you can read about an internal structural framwork. It seem to be very difficult for you understanding what I have expressed so many times but you still do not understand. To Dr. Mark I say. Yes, you may take any point on the structure measuring from. BUT TELL ME HOW DO YOU HOLD WHILE MASURING? You must support and this influences your measuring result.

Dear Don Noon. Yes, it is about having some structure of frame taht in some sence can carry the load of the strings. But it has been proved that the condition on the sound post produced equal upward some downward forces. So the is no movement of the sound post. If that would be the weight of the instrument changes and that never will happen. I have shown with a simple vector diagram how sting load produces equilibrium state. About the frame work. Yes if you have some kind of framwork is hold a static condition,. All this how it can happen you know but alway seem to deny. I have prtoof of such structure a fremework. You know that but you cannot accept becoase you do not understand how it becomes possible. Sorry for that, really!!! Read my internet site and make comment and describe what is wrong in your opinion. That ia qhat THIS is about to do.