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Everything posted by Emilg

  1. SG is specific gravity is in short the density of wood made dimensionless (by comparing to water). Density is weight to volume, for instance grams per cubic centimeter or g/cm3. Spruce has a density ranging from usually 0.35 - 0.45 g/cm3 or as SG: 0.35 to 0.45 (this time no units/dimensions), maple is more like 0.55 to 0.65. When the SG is greater than 1 it will sink in water, think of ebony or heavy pernambuco. Not sure what SD exactly means but probably Specific Density or simply density (weight per volume).
  2. does this also apply for the back plate?
  3. Action always equals reaction, so there's the logic More basic rules: when 2 luthiers agree, one of them is lying (or maybe both) and when asked a question to 5 luthiers, you might get 10 expert opinions ..
  4. Thanks Evan, something to think about. Even more as i'm working on back #6 now, but otherwise than copying thicknesses from maps and visually creating the arching curves i have no idea what i'm doing Having said that, the violins are getting better with each build..
  5. When i was building classical guitars, i read much emphasis on the wood for back and sides as a determining factor for sound. Brazilian rosewood was top of the bill, i think because of the glassy like taptone (low damping), but already banned. Indian rosewood was then standard as it came close, so i assume everybody is now looking for alternatives (right Jezzupe?). But later i found that a good top was the main thing for sound, the back is more of a supporter. I think this is also very much the case for violins.
  6. I'm also thinking 70-80%, but that is for a finished top, varnishes and setup.. not just the spruce selection. But it will be impossible to substanciate that number. I changed the top on a violin once which completely changed the character.
  7. Joe just commented on the use of polishes on FB. It seems Charles B. warns against the use of polishes containing oils for older instruments. Joe adds that some polishes contain wax, causing the same problems for restorations.. and isnt shoe polish mainly wax? I know we are talking about the f holes here, but maybe its better to avoid any waxy substance on violins.
  8. thanks for the tip, my skills are far from laser like precison
  9. maybe also a better heat conducter, so a more evenly temperature distribution? (less hot spots)
  10. Do you do this on bare wood or apply some base first?
  11. Hi Michael, there's not much info on that subject, but i found the post by Michael Darnton (from june 2000) i mentioned earlier: I cannot confirm nor deny this because i only made 5 with European, and they sound very different anyway. But when people like Michael, Don, David, Marty, Roger, etc, etc. speak, i listen
  12. Hi Edi, great story! .. and you are right not to judge too quick when it come to understanding words by people from different backgrounds or cultures. Btw, many moons ago i spent 2 days in Capetown, when we were immigrating to Australia, but that's another story... Anyway, the 2 sets costed only 250 euro total (incl shipping) for tops / nice flamed backs / necks / block for ribs. So i regard the tops as sortof extra, maybe i can do some experiment with them (baking, fungi, soaking in salt water). Oh and the wood came from Transsylvania, which adds a nice touch doesnt it..
  13. Hi Edi, yes that was my assumption too.. but any wood dealer would know the difference wouldn't he. I think he tried to avoid to mention that 0.44...
  14. Yes, but you can ask for low density i presume. I once asked about the density of the spruce tops and they replied 12%.. i did not bother to ask any further but did buy 2 complete sets. The maple was lovely but the spruce turned out 0.44.. next time i will know what 12% really means
  15. its on this page, scroll a little down: https://www.roger-hargrave.de/Seiten/english/Bibliothek/Bibliothek.htm
  16. Don't know much about basses but it seems you can't go wrong with .385. Have you read the Hargrave thread or PDF?
  17. Many from the Golden Period are lower in density, maybe suggesting he was using tops from 1 big log (log theory). There was a thread about this some time ago. I agree that one Strad is not the other and it would be interesting to make an XY-graph with density and sound quality (of course that would be a subjective number). Also when doing blind tests you should be comparing with the best Strads i think. Maybe .. just maybe .. my best violin could beat the absolute worst dud Strad ever made in a blind test
  18. I saw a list of Strad and DG plate densities somewhere, Strads were 0.39 on avarage (with wide spread from about 0.35 to 0.45) and DG's 0.38 on average. IIRC spuce loses about 5% of weight in 300 years (HC breakdown) so if this only affects the density and not volume, Strad used wood of about 0.41 on average and DG 0.40.
  19. I say go for it, nothing is more gratifying than playing your own handmade guitar or violin/bow.
  20. I dont think it's any harder than building a violin, and it requires less specific tools. Some tricky parts are V-joint of the head (but you can do a much easier scarf joint), neck mortises for the sides and the neck angle / top dome. The rest is a walk in the park
  21. well, i recognize this immediately as an authentic JACOP SCHWA??? Lav.TenvndGeynG???
  22. Not being hindered by too much knowledge or experience i'd say the top is way more important than the back. I see the back more as supporter of the top.
  23. Could depend who you buy it from. The spruce (7 tops) i got from Drewbas (Poland) was all 0.38-0.40, but 2 sets from Romania were 0.44.
  24. So if the x-factor is the sum of all known and unknow quantities, beginning with great wedges till good setup, it's just a matter of finding all those sub-x-factors and perfect execution. Easy enough! It seems many are trying but looking at the wrong places, so excluding those can help (things like tuning the sp, etc.) Anyway, as the OP is about wood selection: i'll start paying extra attention to the spruce first (starting soon for #6).
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