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Advocatus Diaboli

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Everything posted by Advocatus Diaboli

  1. 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.
  2. You’re always welcome to come out for a visit.
  3. 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
  4. 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.
  5. These thuddy plates are incredibly lively when tapped. The felt response is short, but you can feel a lot more movement than on more bell-like plates. I know this is all incredibly subjective…
  6. #2 is the back plate. This one is towards the end of the golden period, depending on how you define the golden period. The first top is off of an instrument that’s in for some resto work, so I’m hesitant to try and call it a good or bad instrument. It feels like it has some potential, but it’s also seen better days. The second instrument is a good concert instrument when it’s having a good day. I’ll record some of my free plates when I’m back to the shop.
  7. This is the ‘thud’ of three golden period Cremonese plates. The first is a top plate from c.1705, the second and third are a back and top from a different violin.
  8. Modes 2 and 5 on three free plates. Make of it what you will. Free plate 1.m4a Free plate 2.m4a Free plate 3.m4a
  9. Not to play devils advocate too hard, but why not just cut a couple small cubes off each one and take a bite? The crunchy wood could be better?
  10. Have you checked the string heights at the nut? If the nut wasn’t lowered adequately after the fingerboard being planed that could be the issue.
  11. My policy is to not modify anything original to the instrument not related to setup, but given the option do everything I can from a setup standpoint to make the instrument work the best it’s able to. For example, touching graduations is an absolute no 99% of the time, but I won’t hesitate to rebar or reset a neck. In some cases I’ll add stiffening cleats if nothing else works, but I’ve only resorted to that a few times, and made sure they would be very easily reversible. I don’t have much in the way of standard numbers I feel like I have to hit for much of anything, which helps getting instruments to function right, although that’s resulted in a few shops berating customers of mine for now having for example a 195mm stop length or 27.0mm projection. Whatever the case, none of us truly know best in any situation, so resisting modifying instruments to what numbers we think are best is generally a bit deluded at best.
  12. Beautiful work! Beautiful work and varnish! I’m very curious about the heat activated oxidizer you’re using. Is that something you’d be willing to discuss?
  13. Thankfully, the ground I use is pretty foolproof to apply. Smear it on, wipe off the access.
  14. I’ll bite on the spruce bit, and on the comparisons. The spruce sample is under tungsten in the brighter shots, and led in the duller ones. The ground comparison is with a late golden period Cremonese example. FullSizeRender.mov FullSizeRender.mov
  15. Something along those lines, yup. Thanks.
  16. Ground varnish on a scrap of maple. FullSizeRender.mov
  17. Ah, so you’re the one who retouched that area. I’ve always wondered who was the culprit.
  18. I realize now that might have seemed like a spam post, but it’s just a link to an online 3d printing service.
  19. I guess it's probably safe to comment on Jackson's post since I supplied Addie with the scans he was using for his technical drawings. The drawings for the most part are completely accurate to the scans I have. There are a couple overall scale issues he was working on before he passed away, but these aren't anything that can be fixed with a print scale function, and relate to the drawing as a whole, but not the corner templates. I've always treated the corner templates as a reference, not as an absolute. I also suspect the length of the corner templates had more to do with the overall length of the corners and not the length of the corner blocks themselves. I think the small form with the original blocks and layout holds the answers. David, your template methodology seems sound enough. The outside curves will most likely need to be fudged a bit to get the curves to work, but you seem to have a good handle on everything so far. Can't wait to see your progress!
  20. The interestingly uninteresting pin mark on the violin with the beautifully not nice crackle is from an 18th century Parisian violin. The maker of it is not the maker of it, and the label is neither original nor correct.
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