Pylorius

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Everything posted by Pylorius

  1. Pylorius

    Good Soundpost Wood, Old vs New

    I was wondering if there have been comparisons between old & new spruce sound posts. My old mid 19th century violin had an old soundpost with it that is a minimum of 163 years old, I tried to make a precise replica with wood from two different sources, but was unable to produce a similar tone as with the old post. How much "break-in" is their for the soundpost alone? I am thinking about using this violin with its post as a template to test for quality soundpost material, but was wondering if a new soundpost needs some playing-in, the old post sounds great right away after reinstalling and the difference is in depth of tone and response is easy to hear, but perhaps I am not making a viable comparison, I only tried each new soundpost for about 2 weeks each.
  2. Pylorius

    Stradivari's secret was a concept?

    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 they set out to unravel a mysterious language, but always forget to hire a linguist...
  3. Pylorius

    Stradivari's secret was a concept?

    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...
  4. Pylorius

    Stradivari's secret was a concept?

    Interesting, what do you adjust differently , neck angle, scale length, bridge height? Any recordings of your instruments?
  5. Pylorius

    Stradivari's secret was a concept?

    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...
  6. Pylorius

    Stradivari's secret was a concept?

    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"...
  7. Pylorius

    Stradivari's secret was a concept?

    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...
  8. Pylorius

    Stradivari's secret was a concept?

    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 the "carve". If makers try to go as thin without the extra "kinked" support, the arch will be prone to fail in my opinion without the underlying "formed" structure... and you only need a focusing of the eye to achieve this mirror imaging, like a laser that has two mirrors, one being 90%, this creates a "multiplicity", or coherency, incommensurability, the beam comes from a focusing lens, their is no "beam" of light created inside a laser... a violin also gains it's power of projection through the very same concept of coherency...so what is the mirror, and what is the "focusing lens"?
  9. Pylorius

    Peg Wood ID

    Looks like Kingwood, a tan stripey rosewood lookalike..
  10. Pylorius

    Stradivari's secret was a concept?

    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 back to the original topic of this thread, I will simply say that Stradivarius' secret was most definitely a concept...To make it mundane and call it just "good craftsmanship" is an insult to the artistry of the maker...art transcends definition and concepts cannot be measured...
  11. Pylorius

    Working with pigments

    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?
  12. Pylorius

    Stradivari's secret was a concept?

    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...
  13. Pylorius

    Stradivari's secret was a concept?

    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...
  14. Pylorius

    Stradivari's secret was a concept?

    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...
  15. Pylorius

    Stradivari's secret was a concept?

    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, otherwise there can be no baseline for comparison.....I am not trying to reinvent anything. I may have some unusual ideas, but the violin is still an unsolved mystery after all, so I think there can be some room for that.... I know you can't be as selective as with a chosen apprentice, the fact of information overload is going to lead to bad choices by some, but learning from mistakes can also point one in the right direction...
  16. Pylorius

    Stradivari's secret was a concept?

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  17. Pylorius

    Stradivari's secret was a concept?

    I admire your approach, and recognize this as an apophatic retroductive and intuitive process quite suitable for players and makers alike...it rings true when you talk about repeating phrases when trying a violin, every player will "question" the violin in this way, "will you do this cool thing that I like", then "what else can you do". This is precisely an apophatic process, meaning that you cannot directly transmit an idea in one go, you figure out what something is not, and continue down the productive trail chosen by intuitive skills that a maker and player can and should develop.Your provision of accumulated knowledge has provided some important signposts for me, as have the input of others. This is basically the mental discipline of the Golden Mean demonstrated by Plato's Republic, only you will need direct translation to glean this from it...It is true science in the sense that it is for no other reason than personal edification without regard to results, but using these results to interact , like a bevel on the leading edge, a lens of recognition...of course I cannot transmit these ideas directly, so I won't have all the answers here... the practical applications are the rewards of those who travel this path and those rewards can in turn be given...Thank You
  18. Pylorius

    Stradivari's secret was a concept?

    I believe in the primary importance of intent, that there is truth in tone... All the empirical research I have presented was merely in response to questions, an attempt to provide for more empirical bents... none of the information had anything to do with the gaining of my ideas, which were purely gained through intuitive retroductive means and experience with my own hands. For me, this is the real magic, that one can achieve something great through careful intention, and science can only ever flail in frustration at this force of Nature...
  19. Pylorius

    Stradivari's secret was a concept?

    Practical application of Gauss' law in acoustics is not a very well known method. However, any inverse square law behavior can be formulated in the way similar to Gauss' law, which allows us to extend the same principle to sound waves propagation. We show in this paper how the acoustic power of sound source can be related to the sound intensity flow through a given surface by means of the Gauss' law. Several different sound-source shapes, important in practical applications, are analyzed by means of the Gauss’ law.A suitable choice of the Gaussian surface allows us to obtain the simple and straightforward method for calculating the sound intensity distribution in space. Here is the research paper by two Croatians from 2011, but it also helps to be familiar with Gauss' original work...Some may find it of interest... https://arxiv.org/ftp/arxiv/papers/1104/1104.0893.pdf
  20. Pylorius

    Stradivari's secret was a concept?

    One simple example of an electromagnetic component of sound is the magnetic pickup of electric instruments, the signal is not an acoustic oscillation or wave pressure until it comes out of a speaker, but a wave is just what something does, not what it is. For example, you could study wave dynamics in water and measure all sorts aspects, but have you then defined what water is? Certainly not, it is simply an attribute or behavior.Observations of a "wave" of any type in any medium are also such, and are never definitions or even explainations. What about recordings of the frequencies emitted by the sun, it is obviously not transmitting acoustic pressure waves in space, nor are acoustic waves traveling through a speaker wire...
  21. Pylorius

    Stradivari's secret was a concept?

    Perhaps you could define the purpose of soundholes for me? Whil;e your at it, maybe you could tell me why light disperses in a prism, but "magically" returns to the speed of light upon exiting...no contemporary physics can explain this...if you wish to continue Heimholtzian theories of sound transmission, then fine...Just like Sam Zyg says he finds there is a reason for each shape and curve in a violin, an efficiency of some type in every aspect,so if my 33 years of experience with acoustic investigation is not of interest,, at least listen to the giant clues given by known and respected makers like Sam...
  22. Pylorius

    Iron Rosinate

    Italian/adriatic propolis from yew trees has distinctive differences from the common poplar types. It is high in diperpenes, taxanes, like TETRAPOTASSIUM PYROPHOSPHATE , which is a hygrospopic and delequescent, soluble in water , but not in ethanol, used as a disspersent material in paints., Seems like it would be a good choice for a ground component, and also to disperse cinnabar particles... The longer the color was ground, the finer the color became. The Italian Renaissance artist Cennino Cennini wrote: "if you were to grind it every day even for twenty years it would keep getting better and more perfect."
  23. Pylorius

    Stradivari's secret was a concept?

    The f-hole shape is actually the most efficient shape for pressure mediation within the violin body.It's obvious that a major component of underlying function is efficiency, so we must look to aspects of efficiency always to relate any root qualities.This can easily be seen when compared to a simple household water drain, the most efficient line of drainage is a hook curved linear line similar too an f hole shape, the most efficient line of drainage is not following the round curve of the edge of a drain, as may appear. You add more water, pressure mediation increases the flow. Although water is a different medium, the electromagnetic components of sound travel in similar shape. You add input from the bow and you get more "flow" or projection, the pressure mediation being increased inside the violin. If this were not true, instruments would not even have the dynamic response we call "volume" or "projection". Mother nature is always simplex, and always right before us to see... All these measurements of violin sound are merely descriptions, and a description is not a definition.
  24. Pylorius

    Iron Rosinate

    . Vermilion was also used by painters in the Renaissance as a very vivid and bright red, though it did have the weakness of sometimes turning dark with time. The Florentine artist Cennino Cennini described it in his handbook for artists: this pigment is made by alchemy, prepared in a retort, which subject I will leave be since to put every method and recipe into my discussion would be too longwinded. The reason? Because if you care to take the trouble you will find a lot of recipes for it, and particularly if you cultivate friendships with monks. But, so that you do not waste your time with the many different techniques, I advise you, just take what you can find at the apothecary's for your money. And I want to teach you how to buy it and how to recognise the good vermilion. Always buy solid vermilion and not crushed or ground. The reason? Because more often than not you are cheated either with red lead or crushed brick. This is known to develop Magenta hue on the surface due to impurities but cinnabar is quite otherwise stable the hue can be controlled by particle size, madder can be added, hues obtained by painters are similar to descriptions of Cremonese varnish... The principal source of cinnabar for the ancient Romans was the Almaden mine in northwest Spain, which was worked by prisoners. Since the ore of mercury was highly toxic, a term in the mines was a virtual death sentence. Pliny the Elder described the mines this way: Nothing is more carefully guarded. It is forbidden to break up or refine the cinnabar on the spot. They send it to Rome in its natural condition, under seal, to the extent of some ten thousand pounds a year. The sales price is fixed by law to keep it from becoming impossibly expensive, and the price fixed is seventy sesterces a pound. So it was available in use...and has the correct hue...
  25. Pylorius

    Stradivari's secret was a concept?

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