Jump to content
Maestronet Forums


  • Posts

  • Joined

  • Last visited

Recent Profile Visitors

1750 profile views

reguz's Achievements

Senior Member

Senior Member (4/5)

  1. Don pointed out that needed finger down force on a string at any location influences the stress and dynamical behavior of the instrument. If the distance between finger and finger board at a specific location become reduced you do not need to press the string much at all. If that condition changes one much press harder on the string. This affect the possible behavior of the violin body becoming dynamical. Any down pressure on a string affect stress condition on the violin body. Playing the pizzicato the instrument vibrates as free as possible. Holding down on the string the dynamic of the violin body become affected and reduces. There are at least 7 locations on violin arching shape, back and belly, that act dynamical in relation to each other. All these structures hold their own stiffness conditions. If the balance between them not are optimal balanced (depending on shape and thickness graduation) the dynamical outcome is influenced. So, how lower we produce any finger pressure on the string the instrument will answer better. For that reason neck tilting in relation to string angle and finger board becomes important.
  2. Could i possible that the instrument neck heel allowed the fingerboard dropping? this is not unusual. The neck heel is constantly attacked opening the fibres and finally you find a dropped finger board. I have tested how the neck and thus the neck heel may have influence on what happens by adding with a clinch a weight of 80 gram on the end of the fingerboard. This effect stopps the neck vibration and the forced that act on the neck heel disappear. Recording the open G-string this almost do not affect the spectra result. The problem thus may be found on the wood quality of the neckheel.
  3. When the angle become less thus less 163 the resulting action (load) on the bridge become higher. However, also the action on the end blocks with upward force become higher. This means that there will arise a higher rotation i relation to the sound post. The result of this is a higher compression on the length arc shape of the structure between the end blocks and the on one side the sound post and on the neck side the structure between the upper F-holes. Principally the chord line of these arc shape become shorter and the arc shape curve increases which produce higher stress condition. That circumstance affect (changes) the willingness of vibration at specific frequency.
  4. Is it correct that I observe you lowered the string angle in the direction of 180 thus a flat line?
  5. Probably reading the enclosed paper explain mor understandable what I did and doFor maestronet part 1.pdf For maestronet part 2.pdf
  6. Don. very nice to see a graph of your recording. Could you possibly show that graph in log. instead of linear?
  7. reguz

    Plate Weight

    Hi Evan Smith. It's kind of you replaying on a subject that is a problem for all makers. How do we shape the arching and what thicknesses should we give the plates. I my selves decided to make a study finding out if there are secrets hidden based on simple geometry on arching shape and I found much more I did not expect to find. I have made all my instruments since then and they all have good sound. The prof. Erik Jansson at KTH Stockholm learned me checking the quality of an instrument by playing the open G-string. Producing and analyzing the sound spectra we actually can see the spectra that tell us about the function of arching shape. I have helped quite many makers and they all make their very best instrument. It's nice to read that also you have good result. What is important with STL condition is that also the inside structure must hold STLs att the same location the outside. It is very possible that the great makers in their workshop let their workers make the the arching shape with the help of templates. Well finished he checked the result of STL and made necessary adjustment and the workers could continue with the inside. In Cremona at a workshop I held one of the makers worked like this but did not know anything about STLs. They came about perfect. He is one of the may good makers in Cremona with gold medal result. I only tell what I have found out and make no claims. Many makers have very good results but no one can tell you why. They simply do not know anything about the quality of their arching expressed by a precise geometric map. So there are many ways of succeeding. I wish you all the best in your making.
  8. reguz

    Plate Weight

    Don Noon, You are friendly as usual but whitout substantial explanations. It ain't rocket science... it's more complicated
  9. reguz

    Plate Weight

    Isn't it logical that wood density and stiffness are related to each other? Isn’t also logical that arching shape and stiffness are related to each other? Isn’t it logical that we must understand the complexity of both together? Why than is this not discussed? For me arching shape has big impact especial when the instrument comes under string load.
  10. Dear Uncle Duke. With great respect for your profession I can understand that math is not  easy for you as for many violin makers to understand. I my selves are not great in math..

    I have a background as structural engineer constructing houses harbor guay and a lot more. I became interested in violin making and as the engineer I'm I like to know how the instrument works must  be made for an optimal function at least the basic of it. I studied a lot of papers band also visit the violin making school in Cremona. No one could give a proper anser on my question. Neither this forum does. What I decide was make a study and do it at the level the early violin makers could understand. No math other than geometry, constructing. What I found you are able to read on www.zuger.se Further more there are two other papers shown on this media. I just show what I found and got the function confirmed by a master dissertation, The deflection of the instrument by the load from the strings. Did I ever made an instrument? Yes I did and do.  

  11. Uncle Duke You wrote "Do you consider yourself more of an artist or more of a carpenter/craftsman?". It seem to me obvious that you did not read any of my papers on the internet. What is your profession?
  12. Uncle Juke wrote "do you believe mathematics was used in the development of the violin?" No, I do not think mathematic as it come to calculating, algebra. But well mathematic based on geometry. That kind of mathematic at the time of Amati was science. Many structure are based on geometry and I believe I have found a very simple 2D to 3D solution with no calculation necessary, just constructing. I also belive the person how once made this geometric construction new what he was doing and what he could expect producing.
  13. "the "function" is to sound and perform" Yes that's right but the question I like you to give an explanation on is HOW does it function? Not a lot of other talk please. No the violin is not a scientific instrument but the telescope has a function that is well described in order to do what we like it to do. So the function of the violin is based on the structural shape producing the sound we like it to make. That is what I like to read your opinion on. If you cannot just say I don't know. I accept that. You are not alone that's for sure.
  14. No Martin its not understanding my way. Its about understanding the function. I'm open for any discussion and you may start letting us know what you "believe" is the function. Hope you will do this.
  • Create New...