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About ctanzio

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    Philadelphia, PA USA

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  1. Even if it resulted in a violin that was ugly, difficult to play in higher positions and awkward to hold on the shoulder? The point was that there are constraints on violin geometry and available wood properties unrelated to mode frequencies, as well as on the motivation of a maker to frequently redesign molds. In light of these constraints, wouldn't it be nice if a scientific study gave some quantitative insight on how to adjust violin performance by scraping the inside of the plate?
  2. Congratulations. I hope your new venture goes well. More pictures, please, of your work. They are so lovely.
  3. Not what I actually said, but even if I grant your selective editing of my post, unfortunately I do not understand your following comment.
  4. If one starts with a set of mode frequencies one wishes to obtain, then certainly a mold, arching shape and plate thickness plan can all be newly designed to achieve the desired results by applying the results of your study. Unfortunately, one typically starts with a mold and arching shape based on other factors, like visual effect or a desire to match a classic violin shape. Material properties are only somewhat under the control of the maker. That leaves plate thickness as the primary tool for adjusting the violin plate. So any quantifiable insight your study can give on where to a
  5. The additional reference was helpful. You published something in that second reference that might of interest to makers in general, and plate tuners specifically. To summarize for readers: for any given "reasonable" geometry change (the instrument still looks like a violin), it is possible to adjust the plate thickness to recover the mode frequencies of the original geometry. Another way of stating it might be that if a maker has a set of mode frequencies that make a "good" violin, then if they decide to change something about the geometry, they should be able to tune the plate to th
  6. It was an interesting read. Thanks for sharing. I do have some questions about the relevance of this study to actual violin making, but perhaps that is a topic that needs to be addressed by a further study. Here are some observations you might consider... In the simpler forms, neural nets are linear predictors of behavior. Inputs are multiplied by weighting factors (linear coefficients), and then the differences between the predictions and the observed results ("errors") are used to adjust ("train") the weighting factors. If you are varying the inputs of your experiments by "small" a
  7. Intonation so much improved from your last posting. You are adding that little "space" between detached notes that makes the melody stand out. It was a pleasure to listen too. Tempo still seems to be a challenge. Have you tried using a metronome? You can get free apps for your phone that work well. Each phrase in Annie's Song lands on an extended note that can challenge one's patience to stay with it for the full count, or to insert a proper amount of space to maintain a consistent rhythm. An added complication is that it is one of those songs that can benefit from a little lyrical f
  8. This might be a question for your tax accountant.
  9. Wowza! That purfling and edge work is mind-blowing. Well done!
  10. ctanzio


    I can no longer recall the saying in Russian, but my maternal grandmother frequently used the phrase, "Some things old are best left buried." Although, at the time, she was talking about my grandfather.
  11. Intonation was pretty good and the tone was fairly consistent. Two things I would suggest are: 1. Practice the piece with a metronome. The tempo drifted at times. 2. Learn to put more "space" between detached notes. This includes the last note of a slurred group and the next note where a bow change occurs. One way to practice this is to play the last note of a slurred group as "staccato", or a series of detached notes as all staccato, then gradually lengthen their duration until you are happy with the sound.
  12. In dynamic analysis, there is a concept known as "modal participation". Basically, only a portion of the mass participates in the vibration of a mode. Approximately, it is the G(M,f) function in your equation. I agree that the Z=Mf equation is an over-simplification for anything other than the most prominent mode. Given that mode frequencies change a "little" bit as a plate, near its final form, is thinned, it does suggest that the mass of the plate most active in vibrations should be the focus of attempts to improve response to the bow.
  13. Put aside playing technique for a moment and concentrate on the physical violin. Bridge: there is no scientific reason why a modern bridge cannot or does not emulate the playing characteristics of the so-called "baroque" bridge. A crappy bridge is crappy regardless of the style, and a good bridge is good regardless of the era it purports to represent. Getting an experienced luthier to carve a "baroque" bridge will make your violin look baroque if you want. Strings: There is a distinct difference in sound and playing characteristics between gut and most modern synthetics. But th
  14. Don't know. Never been sober enough enough to varnish after mixing one of these drinks.
  15. I use the denatured version to start my fire pit ever since that unfortunate incident with the gasoline. Still get that lovely "wooooosh" when the match is dropped into the pit, but none of that nasty "baaaaam" that blew off my eyebrows. I save a bit of the Everclear for sipping by the fire. A little simple syrup, a little kahlua, and a dash of triple-sec provides an adequate delivery system.