ctanzio

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About ctanzio

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  1. OK. If Vengerov's and Franciscatti's violins greeted me on the street, I would not recognize them as the same voice, even if they greeted me with the same "interpretation". As for Strads sounding like Strads, maybe you should revisit the copious number of threads that have been posted on double blind studies.
  2. Asserting something does not make it true. You talk of these things in a tone that says everyone agrees with you, or at least should not question the validity of the statements. That is hardly a non-argumentative attempt at a discussion. There is no way we can share your boyhood experience with Franciscatti's performance. So to be sociable we can accept that YOU feel Franciscatti's "tone", whatever that means, was identical to Vengerov's. But we can listen to recordings of Franciscatti performing the Sibelius. And to my ears, the performances sound distinctly different in pacing, articulation, dynamics and yes, even "tone". We can credit the performer for the musical mastery, praise the instrument that allows the performer to fulfill their artistic expression, but it is the sound engineer that pulls the sound out of those cavernous halls and drops it into our laps like we had front row seats.
  3. Wow! A good looking violin with a warm, full sound on your first attempt! Thanks for sharing.
  4. To echo Blank Face's observation, sometimes the cracks are caused by plate deformation due to bending. Removing the top, cleaning out the crack and letting the top relax can cause most of the crack to "close" naturally. If the crack was caused by some stretching or shrinkage, then previous comments probably apply and you have a tougher repair.
  5. Your question sent me to the practice room. I rotate the bow by an active but slight movement of the thumb. The index finger and pinky flex slightly, but just as a reaction to the change in bow position. I do not do anything consciously with those two fingers.
  6. I find a slight roll between the fingers is easier to control than a wrist bend.
  7. I as astounded by the difference when he went from the $2,000 bow to the $200,000 Peccatte. The sound seemed to leap out of the speakers. The expressions on their face told the whole story. The sales rep also made an interesting comment. With the price of top class violins escalating so much, performers are finding they get a larger leap in performance, and a better return for the money spent by upgrading their bow.
  8. At the time Tourte was working out the details of his bow design with Viotti, Fourier was in his late teens to early twenties. But who knows? Fourier appears to have been well connected politically starting in his 20s, but I think the mathematical advances credited to him came much later.
  9. I believe the Tourte dimensions reflect a linear change in the area moment of inertia as one travels from nut to tip. The camber represents the way the stick would deflect if it started straight and was subject to a pure bending at one end. Both of these principals can be used to predict the diameter and camber of the bow. And when the predictions are compared with typical Tourte bows, they match very well. However, I doubt the early makers were thinking of such things when they made their bows. It is pure speculation on my part, but the geometry might have been the result of some esoteric ideas they had, and the methods they used to bend the bow. If you are interested in a mathematical derivation, send me a private message.
  10. As a general rule, spirit varnishes dry quick and so do not require special care to avoid dust and nits. Multiple, thin layers are easy to do without causing problems. Multiple layers can be a challenge to apply evenly, and usually requires some skill with French polishing techniques or sanding. One can polish the finish to any degree of smoothness and gloss. Oil finishes take a long time to dry and may require special drying processes, like UV cabinets. Special care is needed to avoid dust and nits getting stuck in the finish. Many oil varnishes require light sanding between coats to avoid peeling, but makes them susceptible to a phenomenon called "ghosting" if one sands to aggressively. Thick or thin layers are trivial to apply. Oil varnishes tend to go on smoothly and evenly. Polishing a finish can be tricky. You might consider basing your decision on what resources you have available, and how much time you are willing to spend mastering the techniques needed for each type of varnish.
  11. Maybe I have fat fingers, but I can easily stop two strings with a single finger to sound a perfect 5th chord.
  12. Your demonstration works for the situation where the neck is being bent sharply downward, all the glue joints have failed, the vertical dovetails on either side fail to grip the neck, the button manages to stay intact from the blow, and the neck pivots right at the outer edge of the button. I concede the point for such a catastrophic failure. Keep in mind that I am not saying there is no benefit from a tapered neck root. Rather, no evidence has been presented to suggest that a tapered root is any better than a perpendicular root in terms of handling working loads and mild accidents.
  13. It may not be the case that any part of the NECK ROOT is in tension under normal playing conditions. The strings pull on the peg box at a shallow angle. So we can divide the load into two components: a large component normal to the ribs, and a small component parallel to the ribs. The normal component pushes the neck into the block. This puts the entire neck root into compression. The parallel component pulls the neck up along the surface of the block. This puts the neck root into shear. The parallel component times the length of the neck puts the neck root under a bending load which would be opposed by compression near the top of the root and tension near the bottom of the root. Let's call this the bending stress. The bottom of the neck root would experience a NET tension only if the tension caused by the bending stress EXCEEDS the compression caused by the normal component of the string load. I have seen no evidence to support a conclusion either way, although I could do a rough hand calculation to see if either case is feasible if you like.
  14. Curious1, I see no relation between the red lines on your drawings and the actual loads the button and neck root would experience. Let me see if I can explain this in a little more detail. Suppose I have a violin body and I am trying to decide how to attach the neck. Regardless of how I decides to proceed, a decision has to be made about the final position of the fingerboard and nut relative to the body. With a little thought, I realize if I choose a set over stand, depth of the neck root at the top of the channel, slope angle of the fingerboard and total length of the fingerboard from neck root to nut, I can get the "recommended" string play length, bridge projection and string angle over the bridge. Depending on how I decide to attach the neck to the body, I must make sure that the neck root has sufficient material and proper geometry so that once it is securely attached to the body, I achieve the geometry mentioned above. In all cases, the load applied to the neck from the strings will be identical. The string tension has not changed and the point and direction of application of the string load to the neck is identical in all neck attachment examples. If I am careful to shape the part of the neck that is external to the attachment channel to be the same regardless of my attachment method, then loads applied by the hands while playing will also be identical among all methods of attaching the neck to the body. If I am careful to have a snug fit and proper glue on all surfaces, regardless of the attachment method, then the stress distribution throughout the neck root, button and upper block will be essentially the same. An angled root and a vertical root will each position the glue surfaces into slightly different areas of the stress field. Whether one avoids higher stresses than the other is pure speculation. One would need to perform a detailed stress analysis. And given the centuries of crafting experience at our disposal, why would we bother? In all cases, the operating loads on the button area would be the same. Fracture due to accidental impact would depend mostly on the angle of impact and failure of the glue joints. In this case, having a dovetailed joint, regardless of the angle of the root channel, would be able to resist a more severe impact, to the point where the wood in the neck, block or ribs might fracture before the glue joint fails. There is a difference between knowing something works, and knowing WHY something works.
  15. Your description of the terms "open joint" and "closed joint " has no meaning in the world of structural mechanics. The only way to increase the strength of the button-to-neck contact area is to make the button thicker or increase the area of contact. Whatever small angle to you set the neck joint at, we are talking about 3 degrees from vertical, will not suddenly shift its load resistance to spectacular levels. Angling the joint, rather than leaving it at 90 degrees, very slightly increases the strength of the joint between the face of the neck root and the block by increasing the total area of contact. The main strength comes from the geometry of the dovetails on either side of the neck root, along with a substantial increase in gluing surface along the dovetails caused by angling the channel. Maple end-grain is much stronger than hide glue. If the end-grain is properly sized, then under stress the glue will fail before the wood. This is as expected and makes the joint design a bit easier: it all comes down to joint geometry and glue quality. The big advantage of a proper dovetail joint is that it decreases the dependency on the glue to resist the most prominent shear and tension loads. It is possible to engineer dovetail joints so no glue is needed at all. You just need a simple pin or wedge to secure the neck to the end block so it does not slide out of the joint. With a little research, one can find examples of dovetail-like construction techniques that use no glue, bonding agents, nails or bolts and yet resist enormous loads. The question that no one seems to ask is, "Do we really need to dovetail the neck to the body?" I bet you can find examples of necks glued directly to the rib surface that have lasted hundreds of years.