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About Pylorius

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  1. One large gap in virtually all violin research is, oddly, the lack of attention to the studio engineer...seems like researchers are rarely knowledgeable enough to even know who to hire, usually selecting a studio professional, but not a top expert in the field. Even though the goal is to analyze the unaltered sound, there are things you can learn about the nature of a signal when trying to push it around a bit with eq and other outboard equipment, listening to what you can and can't do, know what microphones to try. Researchers need to pay much more attention to this huge flaw, it is as if the
  2. I believe that when talking about "reflection" in historical terms, it literally means what you see reflected in actual light on a surface, not that something just looks as another. That is why I say the internal back arch is what appears as a reflection of the outer top arch, while the back inner arch is carved, and vise versa. This is a visual concept that requires no measurement or tools, other than to check progress. This accounts for differences in thickness, and variations in consistency as well, because the goal is to carve what you see, not what you measure...
  3. Interesting, what do you adjust differently , neck angle, scale length, bridge height? Any recordings of your instruments?
  4. So a rebec sounds the same as a violin? The violin arch focuses the sound, this is even true for archtop guitars. Classical guitars can't project, jazz guitars can better, see the relationship? It is undeniable, the arch is the "mirror" akin to a laser, creating the multiplicity required for projection at a distance, the f-holes are the lenses, if you understand a laser and the concept of incommensurability(not the wikipedia one, but the Pythagorean ), then you understand that this is a fundamental concept, mother nature doesn't suddenly change the rules be it a laser or a violin...
  5. The idea comes from a variety of sources correlated, I am sure others have noticed the relationship, so I hesitate to call it "my own"...
  6. My comparison was as a focused beam, which corresponds to the focused sound and comb filtering in violins, everything involving a focusing of any type of energy is using the concept of coherency, so yes, exactly like a laser. The standing waves are just interference patterns, merely an "attribute", what the mirrors create is the multiplicity which leads to coherency of the"beam" by creating the delay in refraction of the two mirrors, when you shine light through a pinhole you also get a standing wave, but not a laser...
  7. Not the "same" exactly, more accurately, the inside arch of the belly should be the mirror of the outer surface of the top, proportional, only slightly smaller, viewed from above where one can imagine that the inside arch of the bottom is curved upward, seen as a mirror. The outside arch of the belly should also correspond similarily as a mirror image of the inside arch of the top. Then the Stradivari kink provides the extra longitudinal support, so the extra structure allows the top to be thinner, less wood fibers is taken since part of the height is from the kinked curve, instead of from t
  8. Looks like Kingwood, a tan stripey rosewood lookalike..
  9. I think it proves the opposite, and it backs up what I have already learned to be true for other instruments...Martin guitars for example, their history isn't that old or obscured, identical wood is available, lacquer types are well known, there are no apparent secrets, yet the guitars cannot be reproduced ... sure, some come close, but always there is the "little something" missing... This makes it appear as if there is a "secret", but perhaps the intent of the maker under certain specific conditions in time is even more important than we suppose, even in a guitar factory... so to get ba
  10. In metallic guitar finishes,which are just old nitrocellulose lacquer car finishes, much is talked about the flop agents, which provide preferential orientation of metal flakes in gravity, this study goes in depth in trying to create terminology and to distinguish different qualities of refractance created, how would the idea of a dispersent or flop agent correlate with traditional varnishes?
  11. I am not sure what number fancies your talking about, I'm just talking geometry, and shape can matter, even biochemistry works this way, amino acids have tertiary structures that have shape that can become denatured recptor sites. Violins are tuned in fifths which represents an interval of two thirds, represented by vitruvius, man, which is the pentagon, this is not numerology...but it might be fractal...
  12. I think it would be helpful to identify the signature of the aluminum, perhaps the mines in Tolfa? Also, the five Oxygen structure, can it be acheived outside of aging? The pentagonal arrangement could be like a geometrical resonator favoring fifths perhaps? Just some questions I would like to see addressed...
  13. Since wood treatments have been around for all of history, it seems likely that longlasting treatments were already known... so it's not that you would pursue the technique for posterity, but of course a maker would find it appealing if such a treatment was known, just as you would chose other aspects...It seems at odds with human nature for Stradivari to have not cared or thought much about it as a making consideration...
  14. You had mentioned this previously, inbetween quite a bit of teasing, but I was paying attention! This is an example of a small but important detail that instantly improved my set-up , but also made much more aware of the difference in sanding, cutting, scraping, chiseling, etc...which in turn made me feel more intimate and aware of the difference in wood qualities... My point is, this forum can be a modern version of an apprentice system, sure, there are guys like me with new ideas, but really I am looking through the lens of your experiences and seeking traditional methods, otherwi