Pylorius

Members
  • Content count

    163
  • Joined

  • Last visited

About Pylorius

Recent Profile Visitors

447 profile views
  1. Pylorius

    Trigger finger

    Try an Arnica cream or gel, it works well to restore easy movement and reduce inflammation and will definitely help, I used it on my bowing thumb with great success, a really good one is called "the Rub" by NatraBio....
  2. My example concerns the neck stiffness and movement and its effect on response, and tone. If a material is more elastic(gut strings), then the neck needs to be less of a lever, the "rope" in my example is for the leverage/angle/stiffness of the neck, not the string...
  3. My earlier point in comparing to architecture of gothic cantenary arches, is that the bridge is like the second floor, stradling the dual catenaries below, which are twice the size, one withe apex at the bass bar and the other at the soundpost. If you connect these two into one arch, you get an arch that corresponds to violin arching, but since this arch is asymmetrically supported in a violin, the overall arching can also be asymmetrical. My impression of the Del Gesu's is that they have a more curved arch and thicker wood with deeper scoop, so the asymmetry may help get things rocking at the bridge, creating comb filtering that could translate into a "thicker" tone, whereas Stradivari is flatter and thinner, so needs not so much asymmetry or wood, and can have a more symmetrical arch and less scoop around the bottom providing a higher center of gravity for the flatness, which will be another way of getting movement in the bridge, but with a tone that favors upper frequencies "thinner" sounding by comparison...
  4. I think some good comparisons can be made between baroque and modern necks. It's not so much what tonal difference for minor variations in thickness, but what's best dampener for the system, which will include materials, and neck angle. So even if the string angle over the bridge is the same, the typical baroque neck will have the wedge to make that angle, while the modern will have more neck angle with a stiffer ebony board to make up the difference of the added leveragel. While it is difficult to judge minor neck variations affect on tone, it is pretty well known that a heavy ebony board may kill the upper range detail and response of a pure gut baroque set-up, I don't have examples of the the other way around because it's unusual to convert a modern neck to baroque,and still use metal strings, but I would guess that it could lose focus. Even if the string tensions are identical for all strings, the elasticity is different for metal vs gut, so the response time would be very affected. Perhaps another simplex example to help elucidate longitudinal or scalar vs transverse effects, if you take a length of rope and moved it, there is a wavelike delay for the movement to reach the other end, due to transverse losses, but take an identical length of broomstick and hit it, the other end moves instantly without delay. So, while tonal changes may occur, the response time would be most affected, and the changes in tone would be mostly due to this change in response.
  5. Because the neck is mostly a system dampener, too long a neck or scale length is simply overdamped...so the important relationships that make a violin function are then "out of spec"
  6. I believe the main function of neck/fingerboard/ tailpieces is proper dampening, this is certainly true for other stringed instruments and can easily be seen with guitars because they have truss rods which dampen while providing the necessary structure.
  7. Pylorius

    Stradivari's secret was a concept?

    I do not think it coincidence that he frequently adorned fingerboard and tailpiece with many Quincunx, the most important symbol in alchemy, so did Amati. Seems they were very familiar with the Alchemical symbol for attaining perfection, and these symbols are certainly should be considered as a record of this inclusion in his concept...
  8. T The violin arch is weighted catenary, such as the St. Louis arch, which has thicknessing like a violin arch. The bridge is like a second level of architecture seen on gothic buildings, but also similar to a suspension bridge, which twists like a violin . Interestingly, the St. Louis arch has a 2/3 aspect ratio, and to reduce the high center of gravity, the feet are sunk into the ground, perhaps the channeling around the purfling has a similar function? So it seems that there is a complexity in understanding the coherency of these various structures, because there is obviously incommensurability , using true Platonic retroductive reasoning. This also implies some type of acoustic coherency for the violin to even work and overcome the comb filtering that seems to happen with violin projection.You can look at a 10watt light bulb all day, but a 10watt laser will burn your retina and blind you, this is coherency, and it must be a feature of the violin for it to even work. Tartini attended University in Padua where concepts of arching were known and distributed in terms artists could understand, so violinmakers could reasonably have been influenced by this understanding, even at an earlier time(given the long history of Padua University), especially with catenary architecture all around to view and ponder. Wasn't Tartini the first owner of a Stradivarius? We can retroductively know what a violin is not, but can we apophatically understand the functions of coherency that make violins work? The biggest mistake I see is the attempt to use physics in understanding a violin in quantum fashion, when we are trying to understand a qualitative feature. A description is not a definition, and math never truly defines anything, especially those things of a qualitative nature...
  9. Pylorius

    How tight should a sound post be

    I have come up with a good method based on comments made here about Rene Morel. Basically, squeeze the center bout on the back edges only, and the sound post should not fall, then squeeze the center bout ribs only, and it should fall. This gives a good bracketing from which to start. Then, given that many things are "correct", when this fit is made, leave the sound post, but move the bridge only to find sonic relationships between the bridge and soundpost. I find this method precise and effective on a variety of different types of violins. This might not be what Rene Morel did, but that knowledge seems to have been lost, leaving one to glean from the scraps...
  10. Pylorius

    How Do the Best Violins Compare?

    I agree that frequencies above 6kHz are important for violin. As a performer, instrument repairer, and also primarily as a sound engineer, I regularly experienced troubles with resonance peaks inherent in the 6kHz range when playing larger old music halls with upward sloping floors with concrete/marble/reflective interiors. This was a band that had a soprano singer, and a second chair violin from a large symphony, but we were a loud rock band. Also, as a sound engineer, I identified a "trash" frequency in the 8kHz range for electric guitar, notching it out can give a more classic rock tone, allowing it or boosting it gives a more punk tone. My extrapolation from this experience towards acoustic projection in a violin is basically that the 6kHz range from a beautiful soprano voice that distorts at high sound levels, due to whatever mechanism, shows some type of efficiency in this range , able to reflect without going out of phase and the irritating 8kHz when loud, is a voice recognition frequency that really gets your attention, in loud situation this would be "tinny din" of a loud guitar band in a corrugated steel roofed arena, even for violin I would think the 8kHz range has some bad tones, my guess is that violins with clarity (especially some Cremonese), somehow filter this range, because it's irritating to the human ear no matter the instrument( just look at the emotional affect of Punk rock...Also, I am a drummer with lots of experience capturing transients in the 12kHz range for overheads, this is your "room sound" which includes the sense of realism to a recording...I would think all of theses aspects are very important for violin projection. The attack freq for guitar is usually around 5.5kHz(also 11kHz, so it seems logical that the attack and ambience for violin is higher...also octaves create resonace, so 6kHz/12kHz are related and do seem to carry or reflect/standout for whatever reason... many largish halls soundguys will boost the 6kHz range for loud rock venues (much to my irritation)because it's more geared towards guitar eq As for the pass filtered recording comparison, you have to have the right equipment and also know the equipment & mics used to make a fair comparison...I still use matched pairs of 60's AKG dual element mics, some are VERY good for violin, digital equipment can have artifacts & resonant distortion and are not as neutral as people think. The type of panning matters and varies EQ's wildy, so if you are not familiar with the recording equipment or how it was mixed, you can't make any realistic conclusion.... using a Sum-differnce type outboard gear can help because it stabilizes the stereo field (Joe Meek makes some pretty inexspensive stuff that uses this technique, which mimics the ears response in some regards...anyway just thought I would add some insight from my own direct experience...
  11. Pylorius

    D.I.Why?

    First, thank you for your response, it is appreciated..As for the work, perhaps I can earn some respect if explain my work... This violin is very light, and I have some very light, hard and resonant maple selected for its similarity to an old German maple finger board that has a nice radius for fiddle. I may "upgrade" to an ebony fingerboard for comparisons sake, but I think the light fingerboard suits the violin based on the response and tone, it has a baroque-type tailpiece as part of a specific modern/baroque/fiddler prototype set-up... you might think its crazy, but as a fiddler I find what I am doing is covering some interesting territory... I am exploring some baroque features in the setup because that's what interests me. I hardly think I botched anything up, the set-up is great, and the fingerboard can be replaced easily. Besides, putting a big slab of ebony isn't really necessarily an upgrade for a Baroque situation, since original Stradivari necks didn't have them, I find it very uninteresting to copy someones historic "replacement part", nobody has shown that to be an improvement as far as I can tell...
  12. Pylorius

    D.I.Why?

    You might at least bother to respond specifically if you've got the mustard to call someone crazy? I noticed your answers have been very general about the age, I wish you would share more in that regard. I am eccentric about my choices, but I do respect the parameters in which a violin functions in it's most classic forms and relationships, regardless of whatever contemporary views of the time may be. I can at the very least be certain of the rewards from the the work I have done as a player in terms of tone, response,etc..., so I suppose I can only be called " Part- Nutter..." Thanks for the compliment...
  13. Pylorius

    D.I.Why?

    Here is a classic example of D.I.Why? I ask the local luthier how much to install a plain ebony fingerboard, he say's $300. OK, that's already twice what I paid for cheap Neuner & Hornsteiner,with snakewood bow, but sans fingerboard(supposedly not worth working on). I then decided to make my own prototype fingerboard with a wonderful fiddlers radius that allows 3 note chords, based on a friends fiddle that I restored to playing condition. I thought creatively about what I woulds do, which is a good excercise in self-reliance, regardless of the results... Somehow I ended up using an old maple table leg, installed it roughly shape, and then slowly shaped the scoop and radius until it did what I wanted, and the inlay is glue and ebony dust, placed according to note intervals and string spacing, so rustic, but with a function for the player... The result has been a big hit with local fiddlers that I've shown it to and will be recreating this profile for others in the future... I definitely feel like it is a bespoke effort for myself, and will be for others.... and it would never of existed at the local luthier, sometimes DIY is simply because you want something more deluxe than the luthier can even conceive, one of the advantages of actually being able to play the instrument that you make or repair.... by the way, I recently did setup on a friends violin purchased and setup at the local luthier, what I found was bridge feet that were hollowed out and way oversize soundpost irregular string spacing...I suppose that the tight waxed post could have been partly due to plate shrinkage, but what about the rest? The luthier wants you to pay for the expertise, but only applies this knowledge full on more expensive violins, I definitely know that this is not what the customer thinks they are paying for, it is implied that you are getting fully "professional" work, yet they will decide what's good enough? Well, that's just not good enough for me...
  14. Pylorius

    Old European/German?Violin Case ID w/Snakewood Bow

    Thanks for the response, Jacob had already thought it a (very)cheap Neuner & Hornsteiner, it does have the one piece bottom rib with the notch and locating pins, equalateral cornerblocks.. one thing that wasn't on the Mittenwald list is this has what seem to be original center seam cleats on the back.. I just really like the violin , especially with the bow. I searched for examples of cheap Neuners with this type of varnish and antiqueing, but they all mostly have a much lighter and browner varnish from the 20th century examples, there are plenty of earlier 1860's-1880's, examples with the dark plum gypsy finish, but I didn't find examples like this one anyway with the cheesy patterned antiqueing, I really love it! I was, however, still hoping to date the case to some semi specific time period... Blankface thought the bow to be from the latter part of the 19th century up to 1900... these items really have been together for quite some time...still looking for something definitive one way or I another,(the outcome won't affect the sound of the violin...)
  15. Pylorius

    Old European/German?Violin Case ID w/Snakewood Bow

    I tried a couple more photos of the bow...