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  1. Hi Davide. I think it could be a good idea to find out the flexibility, the process becoming shorter/longer by the action on the two tail guts I believe the titanium is less infected in comparison with the one you used before. The dynamic activity when hold down by a stiffer tail gut allow the action of the strings acting stronger on the end block. That action influences the dynamic behavior on the bout shapes. In order to get some information on the influence of the behavior of the end blocks we can look at the stiffness of the neck heel. Also, the stiffness of the wood in the neck heel affect in the same way. I test this by mounting an 80 gram clamp on the end of the fingerboard. This prevent the neck becoming in a dynamic condition. All string load is used rotating the end block inward/upward which cause a other movement/deformation of the bout shape(s) comparable the condition with the stiffer titanium tail gut. By moving the clamp closer the end block, we can observe what happens acoustically, how stiffness affect the dynamic behavior of the sound box. Just try it and find out.
  2. As you all know me from earlier questions. I have changed the B1- and B1+ by polishing the surface of the upper and lower bout shapes. This I have done for a long time (5 years) Now the frequencies are 446 and 528. I stay with that. The varnish do not look great but that does not much to me. The sound of the instrument is great. When I record the open G-string with very light bowing action the spectra looks as shown bellow. It is ofcource difficult compartng any redoding with any of you since we do not know the microphone quality and the condition in tyhe room
  3. OH, OH OH, another answer with no.contents. I know from nobudy or no experiments or repoprts what stress change produce. I have done a lot of such jobs over a long period and by recording the sound result been able to change frequency output and spectra. Is this what Don has been doing and you are replaying on or what is it?
  4. David, I have not been on this site for long time. I do not know of any of Dons knowledge. I think he should answer himselve. If he has published some paper explaining I asked for I like to read them.
  5. Don, very nice statement "anyone with different result is free to show them" Please show your own result befora askling anyone. don't only write!!
  6. Dear Martin. No, I either believe a violinist ask you to do anything on his violin. Simply because a violinist does not know anything about the function of the violin. Yes, I have an extraordinary awareness based on almost fourth years of studying the structure and function of the instrument not only in theory but also in practical work. I'm not a violin maker but I have good result on my theory and stand for what I say. Saying that I'm dogmatic and I try to find simple answers on the difficult shape of the instrument. There is no doubt from my view that the instrument basically is a geometric construction in order to function on a specific way. The structure is based on the geometric shape of the arching the sound producing shape. I have shown that there are specific structural conditions that may produce specific mechanical/dynamical result. One of the most important to understand is that the sound post hold the function being the center of rotation of surrounding structure. Scientist say the center= the sound post becomes forced downward. I say this is technical impossible. I have described how you on a simple way can find out. About the function result on the D-string. the sound post is not moving structure. The cross section between the upper F-hole are other. The end blocks are moving structure. What we see is a longitudinal beam on four supports of which the two in the center are fix while the outer move. Balancing the mechanical/dynamic, letting the three part interact in a special way, an optimal way, will make it possible getting conditions the D-string producing good sound. If one of the three structures fail in the dynamic process the G-string in negative affected. By polishing the failing behavior on one of the three areas it is possible improving the outcome. Martin this is not an violinist will ask you to do because he does not know how to do or do you? Then let us know!! All the best. I'm sure you make very nice instruments as the amy how read these lins do but thus far I have not met any maker that do improving work as described by me.
  7. To all of you listening to Don Noon try to come to an understanding of the enclosed figure. The figure explains what happens when we increase pressure on the end of the arc shape =P+ The arc will deflect and the stress conditions will change. The diagram under each figure show the stress condition. The P+ will get higher + and - stress condition. Just as it is on a string=a straight structure with equal stress condition on the cross section by increasing tension the stress on the square increases. The pith of the string frequency increases. On the arc shape the length of the arc remain the same and the stress condition on the in and outside changes. This affect the frequency the arc may vibrate. Reducing the thickness of the arc shape will increase the stress condition on the arc and a new vibrating frequency condition arises. On the arching shape of the bout we find may different arc shape. By polishing on the surface or scraping on the surface we change the stress conditions and another stress condition arises. You don't need to be a rocked engineer understanding these simple circumstances which influences the frequency it might vibrate. Is this difficult to understand?
  8. Yes Emilg, This is correct. I have a lot of experience in this matter over the last 7 years. But the varnish must have been oxidated over sevaral year so it has strings. With other words it should not be too flexible.
  9. Dear Don, It's hard to belive that you have now understanding at all that a structure under stress has another behavior a structure without any stress condition. This is no no arm-waving this is simple technical understanding. Contact any structural engineer and you will get an explanation.
  10. Hi Rue. How do we understand the function of the sound post? Well, the sound post is the support of a bending condition that arise when the strings pull the end blocks upward. A moment of force arises. P * L. P and L are different on the two end blocks. By moving the sound post along the center line, we change the L and P get more result on one side and less on the other side. That is what we do by finding an optimal behavior of stress result when the end blocks move upward stressing the bulging bout shapes that become stress. Stress on bout shapes are very important producing the result of a played frequency. As the tension = stress on the string is important producing a specific frequency also the stress condition on the bout shapes responding spontaneous on the frequency signal is important. The other direction of displacement thus moving inward or outward affect also the stress condition of the bout structures. Moving in the F-hole direction press the plates outward and when this happens the bout shape that was bulging now is directed to compensate and become less. This affect the stress condition which is so very important controlling. Moving the sound post in the direction of the center line reduces the stress of the plates and larger bulging may arise produced by the action of the strings on the end blocks. This explained behavior allow is moving the sound post in any direction affecting the stress conditions on the bout shape. Hope this explanation can help you. All the best.
  11. Upper F-hole distance has influence on the longitudinal bending behavior. The distance predicts the stiffness together with the thickness graduation. Widening will produce a more rigid structure since the cross, arc=radii, increase the resistant behavior. Also, very important is the width of the F-holes at the location of the bridge. I have with 50 at the upper F-holes a width at the bridge 85. At that location the bridge produces TWO deflecting conditions. ONE is the longitudinal downward bending while the other is the flattening of the cross-arc shape. This double behavior in some extend can be controlled by making the edge of the F-hole thinner. Making the edge inward thinner allow the cross curve bending upward. Actually, this is a regulator of the dynamic behavior and acoustical result. Hope this explanation helps. All the best.
  12. Each string with its tension help deflection the bout structure that become stress.If the stress condition is poor a thicker string might help since that string need a higher tension coming to pitch. The reason of a poor sound result is based on a poor dynamic behavior of the violin body. Many violin makers and scientist believe that all sound become produced trough the action on the bridge. This is wrong. Thre are TWO things the strings does. ONe probally the most important is providing the instrument with frequency imput. The SECOND is the action on the end blocks bending the instrument over the sound post. This produce deflection and vibration of the bout shapes. No vibration= poor result of sound producing and poor breathing of the instrument with little projection. If all is tried on the sound popst position and bridge shape you may try changing the string. If this does not help you only can improve by reducing stiffness of the bout shapes. This you can do by poishing the varnish or on the instrument in the white scraping the surface. I have many years of experience improvingh that way and have very good result. But all is understanding the TWO behaviors of what the string does.
  13. Nice picture! How wins? Wins what?
  14. Hi Marty, your explanation is correct when the structure is supported on a table like the figure. The problem is there is no table under the instrument. What is supporting on the instrument? The load does not make the instrument heavier. How do you explain the IP and OP now to happen?
  15. Hi violin Rus, thank you for letting me know your opinion. However, try to come to an understanding what happens when the already applied string load increase when you bow the string. The re arises an increasing of the action on the end blocks and the bout shapes deflection increases. This is not a one for all increasing but a dynamical moment arises. The stress conditions on the bot shapes increase/decrease and when a specific frequency played is in conformity with the stress condition on the bout shape a mode shape vibration start. I have tested changing stress condition on bout shapes improving the dynamical result of spontaneous reaction for many years on the same instrument with very good result. So, I have evidence that stress condition and dynamic behavior are possible improving by polishing the varnish or by scraping the wood surface. I also have learned where to do this over the many years of experience. What evidence are you asking? Have you done any such work improving? In this process unbalance in the interaction of the bout shapes may arise. This may produce wulf tones. But by knowing in what step (polishing the bout shape) the improvement goes in wrong direction its easy reducing stiffness on the other one. This is all about the stress conditions that become produced. From the beginning stage nothing happened polishing/scraping. So, we may say there was too much structure. Continuing the process when changes became positive it became important to let the structure rest so the stress conditions that changes became stable. At the same time later on the sound quality was recorded with Audacity that verify the changes of the amplitude and frequency spectra. Is there any reading this having own experience just let us know so we may discuss and let other learn how to understand!!