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About printer2

  • Birthday 08/08/1960

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    Mainly guitar building but have developed an interest in violins. Hope to build one soon.

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  1. The Spruce Goose has been said to be mainly built out of Birch, probably why it only got 70 feet off the ground. Or rather water. Just to muddy the waters. I was wondering about the height of the plates, pretty sure I have some reasonable wood, spruce or pine, that I picked up at Home Depot. Seems a 3/4" board will do nicely.
  2. One of my future projects is to make a laminate (plywood) guitar. I knew the cross ply added cross stiffness but I never really thought of the long grain stiffness, it would be reduced. I might have to pick stiffer pieces for the outer layers.
  3. I understood the disposable comment, I saw a nylon guitar at a clearance center for $50, thought I could build one as good myself. In some ways I wish I bought it, I would have concentrated on playing not building. (It was not a great guitar but I needed a smaller one at the time). Did a modification to a different one, a nylon I converted to steel, along with some comfort additions. Mind you, a cheap and dirty conversion but with some bracing changes, neck reset, fretwork, I made it into a playable guitar. https://i.imgur.com/kbWnryS.jpg?2 Maybe increased its value by $20, was it worth doing all the work? Absolutely.
  4. Angel in green with vielle from the Immaculate Conception Altarpiece, once in San Francesco Grande, Milan, painted by an associate of Leonardo da Vinci and Giovanni Ambrogio de Predis, possibly Francesco Napoletano, 1490–99. This vielle has the characteristic low, flat bridge, and 1 of its 5 strings is off the fingerboard as a bourdon. https://earlymusicmuse.com/lifting-the-veil-on-the-vielle/ I would assume they had a few originals around at the time of the painting that the artists could base it on. Or are the artists transposing current violin making practices on the instrument? The second from the left shows the overhanging plates. Gloucester Cathedral, c. 1280, So nothing to do with the violin access cutaways. A variety of sizes, shapes, strings, and bourdon / fret choices (click picture to open in new window). From left to right: Lincoln Cathedral, 13th century: 5 strings, no bourdon, fretless (though, in carvings, frets are often left undepicted on fretted instruments). Gloucester Cathedral, c. 1280: 3 strings, fingerboard not visible. I think I will say it is just a style thing, we build them this way, you build them that.
  5. Just as a convenience, need to get in to tune the instrument. Easier to slap it on the sides if you don't need to get it precisely in place.
  6. But then as you say, why not in other instruments?
  7. I am wondering if the overhang was in anyway connected to the large arch (sorry, don't know your terminology) of the top and back plates? All the historical instruments I looked at that do not have the overhang have more or less a flat top plate.
  8. I think this is more practical then the current violin shape.
  9. But if you figure that there has been many other instruments made at the time and they were built without an overhang, even bowed instruments, it is not a question of why other types of instruments didn't have an overhang but why this one does. I can't link to the picture because of the wrong format. http://www.monoxyl.de/index.php?id=vielle And "Informationen zu den Instrumenten" gets a medieval drawing. Now does the picture show an instrument with an overhang or not? Can't tell by the picture.
  10. And then someone said, "That looks cool!" Then his buddy gets one built that way so the two of them can be a couple of bad asses. Then you know all the cool kids have violins with oversized plates (like pants falling off their behinds). Then another guy spices it up with purfling. And there starts another fad. Then somebody notices the cracks don't progress farther. And then after a while everyone is doing it.
  11. I am having no luck finding the answer, a guitar builder asked the question and an hour ago I would have thought finding the answer would be easy. I am sure with the right string of words Professor Google would spit the answer out in 0.2 seconds along with the 1,200,000 wrong possibilities, I just seem to get the 1,200,000 wrong possibilities. I searched for historical pictures and it seems there were violins (or their fore-bearers) without the overhang. This is now bothering me and I do not want to take this unanswered question to my grave. Can anyone help on how the overhang came about?
  12. Never thought I would make a nylon string guitar but they have found a way into my heart. Then again I never thought I would ever want to build a guitar, started out building guitar amps. And here I am on a violin building forum. Somehow I find the instrument seductive, the shape the look, the sound. I won't pretend to make anything but a fiddle myself, doubt the people I make them for will mind too much. Hope to take some of the collective knowledge here to make something half listenable. As long as they are fun to play I will be happy with the result.
  13. Well, maybe it is a fiddle that is needed in a 10' x 10' room rather than a violin. Not saying to use cedar, just an example of what when asked of guitars is one solution for it. Will you have to build differently with a different wood? If you didn't then the wood ain't that different is it? We build thicker with cedar than with spruce. Darn stuff is soft and dents if you just look at it wrong. Splinters pretty good also. But cedar guitars do sound different than a spruce topped guitar. Might not sound different to everyone but then again, to some people one fiddle sounds sounds like another fiddle like another violin. I think my point was missed. If you don't like the sounds of particular instruments made a certain way maybe it is time to look at ones that are made differently.
  14. I read the same question talked about in classical guitar circles. Just because some guitars are great for the concert hall that does not make them the best choice for the average player at home. Some of the sweetness is traded off for volume when making the tops lighter. A Smallman guitar, which is basically an inner and outer membrane of wood separated by a honeycomb material, is loud and gets the most out of the limited energy in the strings. But it is said to sound less colorful that traditional guitars. Guitar tops that are thinner (to reduce mass) but use the bracing to support the string loads are also less colorful than thicker tops with less bracing. Cedar tops are said to be warmer and more complex in sound than spruce tops. They are thicker than spruce tops but the wood is lighter than Spruce which compensates for the added thickness. Do you guys use cedar for violin tops? I will have to Google that now.
  15. Visual Analyser is a free PC program some of us use to check out our guitars. http://www.sillanumsoft.org/ Set it up as Trevor Gore outlines. http://www.goreguitars.com.au/attachments/Technical_note_on_collecting_spectrographic_data_R1.pdf A plot of a small guitar I made. I labeled what I think some of the resonances were. This is only the sound from tapping the top. I learned from Mr. Gore's (and Gilet) books that we also block the sound hole and take a response of the top again and also one of the back. It gives us the top's resonance and the back resonance. By looking at these we get the frequencies where our resonances fall on scale tones and if they are a problem we try to shift the resonances around. One method is to add mass to the top, back or sides. The bracing can also be shaved reducing the stiffness of the top or back. Much easier to do this with the guitar sound hole rather than a cello. The thickness of the sound hole can also be changed changing the air (or Helmholtz) frequency. The air, top and back frequencies interact with each other but some changes have more of an effect on a particular resonance than others. Probably the least invasive (in a way) is to add mass to the inside surface of the ribs. Poster putty is often used to temporary add mass to the top or back to find where adding mass may help. The guitar seems much easier to deal with than a cello but I would think the general concept should be the same.
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