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Advocatus Diaboli

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  1. Exactly. I haven’t found pure saltpeter to be very complex when I’ve played with it before, though.
  2. My two cents is that on bare, untanned wood it’s kind of disappointing, but on something that’s been tanned for a little while it does some really nice, ’interesting things.
  3. I think it was a little bit over half a bottle.
  4. Exactly. Then there’s the other piece where good adjusters see and hear Strads regularly, which means they know what Strads sound like, which means they keep the Strads sounding like Strads. Usually though, they can adjust any top tier modern to sound like a strad as well.
  5. What’s always most interesting to me is playing golden period instruments next to new instruments when the same person has done the setup and adjustment on everything in the mix.
  6. There is free open source photogrammetry software around. I have metashape pro which is great, but not really worth investing in u less you know you’re going to be spending a lot of time with photogrammetry.
  7. Haven’t seen results from most of the cheap scanners around. It might be cheaper/easier to find someone with a scanner who would let you use it.
  8. Southworth makes good paper. Eaton is quite good as well. If you feel like it, get in touch with an art paper mill and buy some handmade laid paper. It won’t disappoint. Gamblin etching ink is great stuff if you’re using a stamp or letterpress. You can also make your own with a dirty candle, metal plate and boiled hard oil. Send me a message if you want me to make you a stamp.
  9. You’re always welcome to come out for a visit.
  10. To answer the previous questions from @Don Noon, the recordings were made with the built in mic in an iPhone placed about 10-12 inches away from the center of the plate. I was holding loosely near the edges of the plate on the corresponding nodal lines and tapping the center with a fingertip. Here are some recordings of a couple of tops I made. Both have bass bars. I don’t for a minute think that dead plates are good, but I’ve noticed that free plates on some of the better sounding classic instruments I’ve been able to see in pieces have a lot more think than ring. They also feel incredibly lively when tapped, unlike the dead duds on some subpar old instruments. Unvarnished top.m4a Varnished top.m4a
  11. I suspect a lower radiation ratio, just based on the mass and thickness in relation to the free plate modes, but would believe low high frequency damping.
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