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About BigFryMan

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  1. @DoorMouse Thanks, that's handy info. I agree that the modes correlate with stiffness, this is why I am paying attention. I don't have the benefits of hands on guidance, I am unfortunately completely self taught. I would love to have an experienced maker grab my plates and flex and pull them because they would have an idea of how a skillfully graduated plate should feel. Because I don't have this, I'm trying to get into the ballpark of correct stiffness by using the weight and modes of the plates as a guide. Then if they turn out to sound great and play well, I know I am in the ballpark to make comparisons on similar spruce or maple.
  2. Hahaha I like it. My favourite dog is either a malamute or malamute cross husky. A bit hot for them where I live though.
  3. Don, I can completely understand your approach and I think I’ll end up there myself eventually. Right now though I have to look for Stradivarius’s secret for a few years :) I guess in a sense maybe I’m trying to work out how important modes are in the grand scheme of things. Tap tones can tell you something about a plate, just like weighing it, measuring it and flexing it. I don’t expect it to be a be all and end all. Being only on my third, I figure I’m going to try and measure everything I can and write it down so I have a point of differentiation and reference. Also, I like testing my numbers against someone who is successful. Unfortunately I’m a Lone Ranger (apart from Maestronet and what I can dig on the internet) so comparisons I can measure are useful to me. I’ll still keep measuring as I cut the f-holes and install the bass bar. Apreciate your wisdom
  4. Now that I've had a bit more of a play around, I'm pretty sure my 281hz mode is mode 1. I think I've found mode 5 at 376hz by playing around with where I hold the plate. It's not super resonant and the plate is quite stiff along it's length so I guess that would make sense. I Have done some more graduating and I think I'm ready to cut the f-holes. This should hopefully get me a little more give along the length of the plate and allow me to fine tune the graduations from there.
  5. @edi malinaric What do you mean when you say "The cause of a wolf-note is one step closer to solution"? I haven't put the violin together yet so I'm not sure if there will be any wolf notes.
  6. Just fired up my recording rig and this is what I got. It's easy to see where the modal peaks are, but perhaps I had mode 5 mixed up with another mode. I don't yet have a jig for setting my plates up for doing the tea leaf test, but I might jerry-rig something up and see what I can see.
  7. Hold and tap and compare to a sine wave frequency.
  8. Thanks for the pickup, I didn’t actually realize mine were so stark. I might blend them a bit. I’ve heard a few people mention to leave the corners alone and I’m presuming for the sake of support.
  9. Thanks Ken, very encouraging. I wasn’t at the point of paralysis over it, more just making sure that if I’ve ended up in a weird place I wanted to learn from it for next time and take the best course of action. As Don mentioned, it’s possible that this resonance is not actually M5, but another modal resonance. I do like to learn my lessons well because making a violin is so time consuming and I aspire to making a decent one before I hit 40.
  10. Thanks Don, I think you might be on the money there! It was the loudest, clearest resonant frequency so I had just presumed it was M5 and wasn’t paying a huge amount of attention except to the pitch. I’ll review the tapping/holding positions and fire up my recording rig today to check properly. Maybe I’m not so far off the norm after all.
  11. I guess another course of action I could take to get M5 up a little bit higher would be to install a taller (stiffer) bass bar?
  12. Thanks Peter, I guess I was hoping people would chip in on nearly exactly what you're saying - either not great spruce perhaps I didn't get close enough to normal arching. In your second point about not deciding on M5, I think I am trying to learn what action would be best on where to go from here. Keep thinning out the graduation a little to get to the weight down and let M5 be what it will be, or leave it fairly heavy and try not to drop M5 much further. I am currently leaning towards thinning out the center a little more and bring the upper and lower bouts fairly uniformly down to 2.5mm
  13. Thanks Anthony. Yes I still have a bit of wood to remove from the center, but was trying to decide whether to err on the side of a little or a lot more. I have a poster of the Del Gesu Plowden (1735) I've been using as a reference, but I'm a terrible copyist hah.
  14. Hi everyone! Haven't posted for a long time, but have still been lurking and in the last few months getting back into making violin number #3. I am most of the way through hollowing out a spruce top and have been trying to follow along with a working method that Davide Sora has been so kind to put online Currently my spruce top is 74 grams and the wings of the upper and lower bouts seem to be getting closer and closer to the flexibility I'm happy with. Not much flex longitudinally, but plenty of twist. The mode 5 tap tone is currently at around 289hz. This is where I am very far from the model that Davide is working with. I still have a little thinning out to do in-between the C bouts and would like to be somewhere in the 60-70g mark for the top. Davide's model at this stage has a mode 5 of 350-370hz. I obviously cannot put more timber back on and I'm not sure I'd want to even if I could. I have attached a few pics, one has the graduations marked on it. A few things I'm thinking could have me where I am currently: - I don't have stiff enough spruce for the weight - my model is wider in the C bouts than I'd originally intended, perhaps this is pushing mode 5 down and the weight up - my arching could be very weird - I live in an area with high humidity Anyways, the biggest questions I have now are: - What should I do with this spruce top now? Should I keep thinning down to where the numbers seem reasonable, or should I stop and cut the f-holes and keep moving. - What did I do wrong and how can I improve for next time? I know comparing Davide's model to mine is diamonds to gravel, but it is nice having a reference point to learn from. Thanks in advance for any ideas and thoughts.