DoorMouse

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About DoorMouse

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  1. With this array of instruments I feel like I get a sense of the tonal shifts between periods. The Golden period instruments are generally more focused and projecting while the late period instruments sound more full bodied to my ears.
  2. I noticed that the center seam on the back has a noticeable curve to it. Any thoughts as to how or why this was done? The figure looks like opio maple.
  3. At the risk of sounding redundant..
  4. I was working on pre-wearing the corners/edgework today and adding an ebony crown to the heel. The scroll is also getting some reworking to try and capture more of the slender/plain character.
  5. I agree, black will look good and put more focus on your lovely collection. I turned a few rolling pins out of walnut not too long ago and yes, they make great weaponry..
  6. Thanks for the advice Nick. I'm looking forward to attempting the next graft. It would be nice if there was a clear manual on the subject. Is there?
  7. I've had this issue and was convinced it was the string that was doing the whistling when my bad technique was the culprit all along! In my experience the non-whistling brands of E-strings are pretty dull sounding and had a negative effect on the overall tone of the instrument.
  8. I recommend contacting Bruce Carlson regarding his excellent photo set of 1735 Chardon. It's the best preserved example of DG's work and should give you a good sense of what the edgework and corners looked like pre-wear.
  9. These data were posted in another thread.. Maker - year belly back Nicolo Amati d sharp F Nicolo Amati F G sharp Carlo Bergonzi E D sharp Gasparo Da Salo F F sharp Strad 1701 E E + Strad 1708 F E+ Strad 1709 F sharp + G Strad 1712 G + G Strad 1726 E F + Strad 1720 F + F + From Anders Buen. As you can see quite a few of these plates fall outside of the 340-360hz range although that may be the mean. That suggests to me that the modes are more of a byproduct of graduating the plates to an acceptable range and stiffness. I can't imagine that Stradivari, being so precise about every detail, would be so careless in tuning to his plates to a specific frequency if that were his aim.
  10. Here I’m trying out a new technique for visualizing arching.. i’m currently working on a DG model based on the 1731 Baltic. I’ve had the opportunity to see it at the MET a few times and it’s such a stunning instrument. The back figure is a pretty close match to the Baltic but sloped in the opposite direction. This was my first attempt at a neck graft. It’s far from seamless but should give the overall effect I’m going for. The head is plain hard maple and the neck is figured.
  11. Make sure you're pinching the plates and tapping in the right spots. That might help with any confusion between modes. Here's a good illustration courtesy of Mr. Sora.
  12. Do you mind elaborating on the second point? If you were starting with a piece of wood with low specific gravity how would you compensate with the arching? Would you adjust the arching height or fullness to the edge?
  13. Is the black spot between the ff's from rosin build-up or is that part of the antiquing? It makes me think the bridge may have caught fire during a furious Flight of the Bumblebee rendition.
  14. I'm curious about the rectangle as well. It gives the effect of a compressed arch.