donbarzino

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About donbarzino

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  1. In looking at the scale of the images of actual deformation , posted by Davide Sora in the previous discussion,it seems the upper and lower bouts bulge out about the same amount as the bridge area is pushed in. How many mm deformation have the bridge areas of classic instruments undergone and wouldn't that many mm of upper and lower bout bulging illustrate the David Burgess theory perfectly. "This image refers to a violin a few moments after being tuned to 440Hz, I don't know if it's a good or bad one and obviously the numbers will change from violin to violin, but the areas will be more
  2. Sounds interesting . A ceramic coating could have a lower damping factor than any resin varnish. What are the ingredients in this 'ceramic coating'?
  3. Now that you mention it I remember having experienced that also with commercial peg dopes that contain more lubricants like wax or soap, but in making my own peg dope I added more friction inducing solids like chalk or pumice which made it of a thicker consistency that could build up to a layer.
  4. You took so little off, I wonder if your problem could be ameliorated with a lavish application of peg dope.
  5. I seems obvious to me that Gaspar da Salo's volute design was heavily influenced by his daily exposure to the sausage makers shop next door.
  6. I was taught to soak some hot water into such a crack just before applying the hot glue so as to draw the glue down into the crack as the water soaks into the wood.
  7. If the string binds at the nut while it is being tightened the tension is greatly increased between the nut and the peg and the string would tend to break at the weakest point between them. If the nut doesn't flow back smoothly towards the peg but rather puts a kink in the string where it leaves the nut, then I suppose it would break at the nut.
  8. Usually, when strings break between the nut and peg it is because of the string binding in the nut groove.
  9. I have many nice old violins which are missing their necks. I bought a large lot of them from an old music store years ago.
  10. I am very sorry, David, and I have edited my post to now include you.
  11. I was interested in playing violin and bought an inexpensive one from an ad in the newspaper. It needed some work and when I took it to a music store they told me it was a piece of junk and not worth the cost of repairs needed. I borrowed the Heron Allen book from the library, read it and repaired my violin. When I brought my violin back to the music store to buy strings they looked at my work and offered me a job. I learned a lot working there part time but my other part time job as a motorcycle mechanic paid a much higher wage. I kept both jobs through college work
  12. I believe that higher ribs are more flexible, not as a beam, but when flexed crosswise. Only the lowest modes seem to try to bend the whole rib set as a beam. Most higher modes seem to flex the ribs crosswise and in limited areas.
  13. The problem with both nails and screws in this application is that you are going into the end grain of the neck which presents less resistance to splitting and withdrawl .
  14. I would look at those marks as an asset for they reveal the edges of your cut and any nearby high spots as you work.
  15. Michael Darnton has written an excellent essay on this subject. http://www.darntonviolins.com/violinmagazine/book/UnderstandingTone.pdf