Andreas Preuss

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Everything posted by Andreas Preuss

  1. Those are experiments with plant dye stuff, right? There is certainly an infinitive number of solutions to match the ground with the varnish. Just from the picture I would go with the second from left. However often old Cremonese instruments (if that is what you are aiming at) have a a rather orange looking color in the ground when seen on pictures. So the sample on the left looks good. In this respect I have to say that I am more and more convinced that the color and depth of ground on old Italians comes from not treating with any colorants. Since I am steaming my wood I found some
  2. Yes, a can of worms. i am not replying to any of those word fights but want to add a few things to consider. Just by the structure the entire violin has to deform. This just becomes clear if you imagine everything to be very thin and flexible (or much thinner than it actually is) How round the long arch of classical Cremonese instruments were from the beginning is IMO impossible to say. Just the fact that some of those instruments got a slightly concave arch in the center which was certainly not there when the violin was made, shows that long time stress does deform the top.
  3. 14mm does not sound awfully low. The rest depends on the general stiffness of the wood and if or not it is split. At least I noticed that some of Ansaldo Poggis instruments have a visibly low arch and do sound very well. I have seen one which had something like 13mm top arch. However I didn’t have time to examine the top thickness. In the end you can make many arching heights work if you calibrate thicknesses and neck angle correctly. It is only advisable not to go to very extremes unless previous experience tells you to do.
  4. Hi Kohi, just had a look at the pictures. Nice work. Suppose you are seeking some feedback on this like good and bad points. Lets start with the bad points because there are more... (just kidding) Ok, the good points are a good overall impression, the model, surface, varnish. On the details there are a few things I would improve for the next Plowden model What strikes me most is that the position of the f-holes doesn’t have the 'plowden taste'. with a quick compare to the pictures in the Biddulph book it seems that they are a bit too far from the edge. (Did you tr
  5. Then this means that the way the thicknesses around the bridge are designed have a paramount importance on the overall sound of a violin?
  6. Thanks for forwarding this. I made a printout and still have to chew on the contents with my limited knowledge of physics. If it is possible to shift the BH resonance frequency (or resonances?) by altering the zone around the bridge it should be also possible to change it by the down pressure and location of the bridge, or not?
  7. I think it was in one of those STRAD articles. https://www.thestrad.com/stefan-peter-greiner/3781.tag 'Musically speaking'i I cannot say what he is aimig at. It seems that in pursuing his musical ideas, whatever they are, he reached a sort of conclusion that building symmetry doesn't work for him. For more I suppose you have to ask him.
  8. 'harping' in a violin making discussion forum is probably not a good idea. That's an interesting observation. I was trying to find material on the bridge hill and the papers i could dig up from the net describe it differently though Many excellent violins show a broad peak of response in the vicinity of 2.5 kHz, a feature which has been called the “bridge hill” (On the “Bridge Hill” of the Violin J. Woodhouse) 2005 http://www2.eng.cam.ac.uk/~jw12/JW PDFs/BridgeHill.pdf So do you think the low bridge hill resonance is unique to Strad?
  9. I do issue a certificate with instruments I make. I am not so worried about how easy they can be copied. I am using some tricks which are pretty hard to copy. Otherwise I think it is the absolutely foolproof protection to have an online catalogue of the entire work. I don't know if it is possible to extend such an online catalogue after ones own lifetime.
  10. OK, yesterday I had a few minutes to take off the back remove the remains of the old linings and glue two new solid linings. I didn't expect too much of a change in the sound. However, it lost bit of its previous interesting non usual quality. But this quality was paired with some uneveness in the loudness, some notes being more muted. So now it lost a bit of that but became more even and is still pretty crispy. There is nothing which reminds of the previous woofiness except that the lower register is really full and sonorous. all this looks like an overall improvement. Same bridge
  11. Reading comments here, I would suggest to use the CNC as a roughing out device and not to get the scroll completeley finished. If I would imagiine to work from precise sawcuts (made in this case by the CNC machine) which are on both sides exactly the same, the finish shouldn't take much more time than giving a CNC scroll the final touch.
  12. Thats pretty amazing. No more questions.
  13. Just a question out of curiosity. If not, where is the major problem doing this with a CNC machine?
  14. I mean, if you copy something where you think it has an issue from the beginning....
  15. To confirm or to dismiss Mkn/Schb I would check a few more points. Inside Blocks and linings How is the button on the back aligned with the center line of the back? Edge thickness at corners vs the rest of the edge thickness Pins on the top Symmetry of the outline. (I draw it on a tracing paper with a cutout in the center to avod distorsions. I can post pictures of how to do later.)
  16. Just looking at the central spine of the scroll, I wouldn't say it is Mnk/Schb.
  17. I agree. My experiment wasn't about influence of the outline anyway. I just wanted to show the OP that you can throw the outline completely out of balance and arrive at a violin with a normal sound.e On the other hand, assuming that the outline was the major cause for the bad sound at the beginning, none of the other alterations would have had an effect.
  18. We have to realize that in the end a violin IS NOTHING MORE than an empty box with two slot like holes at either side of the bridge with strings running over it and supported by a soundpost on one side and a wooden stick on the other side. This describes its bare functionality and there is no reason why it shouldn't sound like a violin.
  19. After having experimented with this I can assure you that outline as such has only a minimal effect on the sound in general. The violin didn't sound when it was completed, but I managed to get a reasonable good sound on it with some alterations EXCEPT the outline. For the details i tried to post on MN the most important details here https://maestronet.com/forum/index.php?/topic/340067-andreas-preuss-super-light-violin-project/ If any measurement would have an influence on the sound at all it would be the ratio of internal length to the internal width. If we take Anto
  20. Strad NEVER painted flames. It is rather the ground (under the varnish) which enhanced the contrast of flames making it look like painted on a B&W photo.
  21. Welcome Sebastian, this looks pretty braintwisting. I didn't have time to read the paper but if the goal is the sound replication (or sound cloning?) of existent instruments of proven high performance qualities it is certainly extremely interesting. A few thoughts on the realistic possibilities to do so: First, from a pure violin maker point of view everything which belongs to the setup of an instrument, and in particular neck angle and bridge proportions can have a huge influence on playability and sound charactistics for a given instrument and has absolutely nothing to do
  22. Latest modifications: 1. Thin down the edges and slightly the lower half. The lower half was in some areas around 3.0mm which I thought is too thick in comparison to the 2.1-2.3 on the upper half. I lowered as well the bass bar some fraction of a millimeter. After reducing the plate just 0.5g were missing to make the 5% weight reduction complete, so I 'cheated' by taking the weight from the bass bar. This all resulted in a weight loss of c. 3g. The top with the X bass bar is now 58g and reached for me the limit what can be reduced in weight. I cleaned as well a bit the top
  23. Even a blind squirrel finds a nut once in a while. or Sometimes red herring fishermen catch a carp.