Andreas Preuss

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About Andreas Preuss

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  1. Just to give you an opinion: I like this more than the other below because the contrast of flames is not too strong. This one has a ground which feels too white. Though i am not sure if this comes from different light. Did you use on both violins the same ground?
  2. Excellent work. Compliments. If I may ask, what are your motives to make changes to the arching(s)? And which changes do you have in mind?
  3. This is the sound graph as it is right now heavy fernambuko neck doubled linings all the way around on the top side weight w/o chinrest 328g.
  4. I followed the dimensions you gave me a while ago and it is pretty narrow under the bridge. (Though I didn't measure it) Well, one has to keep in mind that the low resonances of this experimental violin were from the beginning too strong. Playing the violin it didn't change in the direction I was hoping it would change to. My hope was that a longer and heavier bass bar would somehow give a better 'control' on those low frequencies. Anyway, the changes were a kind of difficult to measure by ear. If I noticed anything there was rather a shift in the tone quality from a bit rough and rasp to a more round and mellow timbre. From my experience this usually goes along with additional dampening which I couldn't notice by ear. My first reaction was to switch the bar to the previous bass bar, but right now I decided to leave it and rather look on the neck material and angle again.
  5. Next quick experiment on this violin: The Bayon Bass Bar before there was a traditional bass bar installed which was more tapered from bottom to top than usual making it more triangular in cross section. (To save one gram or so.) The first bass bar was c.4g. The reason to install the Bayon Bass bar was to add weight to the top under the bass side foot of the bridge hoping the strong resonance between G and G sharp will diminish. The weight of the Bayon Bass Bar is c. 7g. Result a bit later because just to my hearing the violin needs a day to settle in and readjust to string tension.
  6. Agree. I am just making this point because some violin making novices might get the wrong idea about fitting pegs properly from the beginning.
  7. Looks like overkill to me. It I s possible to adjust pegs to hard or too soft and get the infrared camera result right. For smoothest turning the hole must be smooth (can't be measured with infrared) and I try to get a pinch more pressure on the side of the peg head.
  8. Maybe just a holder to have a better grip on the scraper with one hand.
  9. Instruments with a low bridge or a bridge tilted too much towards the treble side are more likely to get a worn upper treble side corners because it is getting 'bowed over'. (Or worse hit by the frog.) In some modern compositions there is a rapid change between bowed string and pizzicato (holding the bow) which seems to be a risky business for the upper treble side corner of a violin or viola. Speaking of very old instruments there might be a sort of erosion going on by rubbing corners over the cloth of the player when holding the instrument and other occasional contacts. At least I don't see any better explanation for worn corners on the back.
  10. I actually once requested a wood dealer to send me freshly cut maple for the purpose of ponding it right after arrival. The idea is to extract the sap juice as long as it hasn't dried out. For other purpose I wouldn't buy fresh wood. Otherwise I think it is of no great difference if untreated wood is 5 years old or 20 years old. Actually dendrochronolocal research unveiled that the top wood for some Cremonese instruments was pretty fresh and if I remember correctly for most tested samples not older than 25 years. Now I am never using untreated wood. For maple I developed a steaming procedure for spruce I am working on a pure heat treatment. The tonal result is quite different.
  11. When playing it I found this region more or less ok. Maybe there is a sort of over resonance on Gsharp. Sound sample attached playing the D string in half note scale with normal bowing followed by light bowing. IMG_6711.MOV
  12. Thanks for your scientific comment. With my little experience in reading graphs I had a similar interpretation. In the first graph the region between 200and 500 Hz is what represents the over resonance in low frequencies. In this state it was literally unplayable. Right now it has actually a bit unusual sound in the lower register but at the same time quite interesting with a bit gritty rough impression under the ear, something many professionals love to hear. With the next neck I am planning to lower once more the string angle and hope to lower the overall resonance between 200 and 500 HZ once more. But in the end I rely more on what I hear and how the instrument feels under the bow. When all parts are too light it is a kind of fun fooling around with magnets to place weights in different spots and see how the sound changes. In case of the corner blocks I found that placing weights (I used 2g) on the diagonal opposite corners treble upper left and bass Lower right produces a sort of change in the feel for the player but nothing you would notice on the audacity graph. For your side note: I think that weight is much more important in violas than on violins. When I finished the super light violin and it sounded too low I thought : I should have done that with a viola.
  13. THIRD CHANGE Doubling the linings. This diminished 80% of the biggest problems of this fiddle. The top needs to Ben framed. And apparently the back go along with tiny flimsy linings. Below the picture with the massive linings.
  14. SECOND CHANGE First picture shows a bit of fooling around with the interior rib structure. First I glued a second 0.3mm maple veneer on the inside and then to diminish the inner air volume some corrugated card board. For the maple veneer doubling most changes were noticed when they were only glued on the C ribs inside. Result was a slightly diminished woofiness and boxiness. When I glued in the next step the veneer on the upper and lower bouts the result was disappointing: basically no audible changes. When the corrugated was glued all along the whole length of the ribs on both sides it was too much reduction in the air volume. The sound became thin like a fractional size violin. Therefore most of it was removed. Thereafter the sound was better but with the main problems remaining Woofy and Boxy. (Picture 1-2) So I fetched my scalpel for the next major operation. I removed the cardboard, the veneer doublings cut the old linings out and cut back the vertical lining pillars so that I could install a solid 8mm wide lining. (Just realized that I forgot to take a picture of that. )
  15. FIRST CHANGE Picture of the fernambuko neck Just visually I thought a fernambuko neck would be pretty cool. It's really a pity that it doesn't alter the sound. I'll probably remove it without destroying it and keep it as a kind of memory.