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Dr. Ludwig

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    Western North Carolina
  • Interests
    wood, biking, mountains

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  1. That's after they stole it and stripped it. Here's what it looked like before https://www.youtube.com/watch?v=0SvfNhMlnBE Yes, the clip I referenced is from the Full Stentor Made Video, if that is what you mean. My point only referred to the quality of these ...professional wood workers? factory workers? ...at any rate, trained to perform a certain aspect of violin making. Cleanly, repeatedly, quickly and as cheap as anyone in the world for handmade violins. Kind of like the 'factory' violins assembled from individual shops/craftsmen 100+ yrs ago in southern Germany and elsewhere. The counter video I included showing the other end of the spectrum, a bespoke maker working alone at his bench.
  2. Please do post. But I'll say that opinions with some logic are not ridiculous. Upper blocks are not scrolls. I didn't pronounce an opinion on this particular "trained professional" but only that I could not imagine such. Surely it could happen but .....
  3. Fascinating discussion of tool marks and what constitutes a professional. I disagree with some opinions and also how they are stated. We all have opinions, some are wrong, some are not useful. I, as an inexperienced repairer, could not imagine creating the shown 1/2 Saltkammergut; nor could I imagine a trained or 'professional' creating such a version of a scroll. If you are That Bad with a tool....it takes to long so you get fired. Look at these professionals in China Video of piece work. Albeit a company made video. Clearly trained professionals. This video, also of a professional, is fascinating in a different way. Video of Ivan Hus. But even here in the comments sections there are arguments about where the video was filmed. And this argument is over a very definite fact. The discussions on MN are often enlightening, sometimes about violins and sometimes about personalities. I take more from the violin discussions.
  4. I resemble that remark, although not all PhD programs are created equal. But they still made me try to teach. But it is also the case that you need to know what you don't know. You need to maintain an inquisitive mind as another pre-requisite for most quality advanced academic degrees and for 'advanced artistic advancement' such as luthiers. I've meet all kinds in both fields as I am sure we all have.
  5. A more detailed paper by the authors. https://arxiv.org/pdf/2102.04254.pdf So I could be more enlightened after digesting this paper fully.
  6. There are a lot of PhDs out there teaching....often not lean and clean. They often bring a lot of baggage to the table. This might also apply to other types of masters as well. Your experience may vary.
  7. So, for me, AI needs to be defined here...just neural nets? To the article....there are many simplifications. Remember, all models are wrong but some are useful. It appears the inputs to the NN are just some of the geometry. Perhaps they need to increase that a lot, perhaps by starting with wood perimeters and wood treatments/varnish etc. Small changes can make big differences and NNs are famous for not providing the way. Using statistical methods to analyze large amts of data could give some objective categorization of violins. The categories would be ?? Peoples 'response'?? - way to subjective. Some frequency response curves?? But data might allow you to build a NN on an objective basis. But what does it provide in terms of understanding? What are you trying to understand? The research mentioned is not about identifying good tone. I think ya'all know the parameters of good violins better than anyone. Maybe, someday, further statistical analysis of 'good' violins would provide more knowledge about good violins. Maybe. Also, applying a biological model might provide A Model but probably not one that understands violins. This could be used to construct a NN. But to what end? Sampling the audience would only get their bias....pick what ever audience you want. A thing that happened in Natural Language Understanding that created a big breakthrough were statistical models created by some physicists that basically relied on frequency of words, combination of words etc. to create disambiguation. No grammar, no stemming, no understanding. Perhaps I over simplify. So I think you could create a model, by any means, and it would tell you that a violin that resembles that model would be well appreciated by a segment of an audience(database). How you actually create the pieces ( the actual understanding) would still be lacking.
  8. Very nice sentiment. Yes, so many violins for me to learn repairs on. Typically, the less you pay the more ( and harder) the learning. Maybe I should bet ,,,err, ah ....spend more.
  9. I guess you are saying make one 'noticeable' change (string angle) and then leave any other changes (VSL) as 'negligible'. That's OK. Looks like Dave Burgess has a nice angle changing rig, but of course that rig changes things from a standard setup too.
  10. If the nut goes down (rotates back?) does that change the vibrating string length? do you move the bridge to adjust....which changes the after length? Seems so hard to change 'one thing'.
  11. Dr. Ludwig

    .......

    You might have some interest in reading "Art and Method of the Violin Maker" by Henry Strobel. A short (70 page) general discussion on violins, their construction and design. Some references included, etc etc. Not an encyclopedia, instructional or comprehensive.
  12. Trackers would invite damage. Chips would only be useful for identification. So first they'd have to find the violin, recover it and then you'd need to show up with Gov. ID to prove just exactly who you are. Surely a cellphone isn't enough.
  13. Where would you put it? It would have to be hidden, at the least, to be of any value. Otherwise, it can always be removed. Seems impractical and I think photo ID might be enough.
  14. I'm just learning but from these pics I would suspect the rough scroll, purfling and f-holes. Maybe the construction technique. In a complete identification it can go down to the varnish.
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