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Steve Rodriguez

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  1. I should clarify that I’m talking more about using his graduation map than scraping a finished violin. Sorry about going down that bunny trail. Steve
  2. Sorry for the late input into this topic. This is my first post to actually give input. I am a complete amateur having only built one violin recently, and am usually only on the receiving end for help from everybody. However, maybe this can be of some help. Before I started building my violin, I experimented re-graduating two thick plated old German ebay fiddles trying out a few methods; one incorporating all the things I could described in that Fry book. I removed the bass bar and along with reducing the thickness of the plates, I painstakingly mapped out and incorporated everything I could learn in that book and was real anxious to see what would happen after I put the violin back together again. What I found was that it sounded better, but after I completed regraduating and playing the second violin not using the Fry method, I began to think that the first violin's improvement in sound seemed like it was due more to the overall reduction of thickness of the plates alone. My first violin I made from scratch sounds better to me than those two regraduated violins, but anyway this is just my opinion. Maybe I did something wrong in implementing those features, but that is how it turned out for me. I did get some good plate graduation experience from working on those two ebay fiddles though. Regards, Steve
  3. Uncle Duke I think I see what you are talking about with the guitar. Basically I shouldn’ take that recurve to the extreme on the violin. I like the Idea of being aware that the violin will change and to let it do its thing and maybe not to chase every change with trying to fix it. I hope though that mine gets better like yours do. Thanks for the wisdom. steve
  4. Thanks Uncle Duke and James. i’m starting to picture the ends of the recurve bow in my mind which seems to be very similar to this shape on the violin. regards, Steve
  5. David, Thank you for the information. "Channeling" like you and Guido mention will work for me; I can picture that easily. Regards, Steve
  6. Okay I was just wondering; The reason I used the scoop term is because Mr. Darnton called the the area around the perimeter scoop: http://www.darntonviolins.com/violinmagazine/book/edgework.pdf the other scooped parts/terms like the fluting for the wings and that recurve for the C’s sound good to me. Thank you for the enlightenment. steve
  7. Thanks for taking the time to help me Joe. I appreciate the info. My bridge certainly doesn't look as refined as those on the violinbridges website. I have my work cut out for me. Sometimes I wonder how in the world they came up with the design of the bridge in the first place; both artwork, and functionality too. Regards, Steve
  8. Here’s a fairly simple question that I struggle with. Regarding scoop with regards to arching, as I seem to understand, it is the band of around 10 or so mm of counter-curvature or fluting that goes around the perimeter of the violin on the top and bottom plates. What then is the more horizontal scooping called that is within the C bouts that travels up to the f holes? Is that also called scooping? Thank you for any help you can provide., Steve
  9. Yes, and that was my original goal, and to fine tune, and then it was pointed out certain discrepancies which I have corrected. I have super-glued the E string notch, applied some bridge velum, shaved off some mass per the observations, and then moved the soundpost some. The sound has improved (less bright), though I would like it to be a little less bright still. Maybe on the second violin I could study arching more; maybe there is something I can do there to affect this parameter. Thank you, Steve
  10. Thank you. I went ahead and checked my soundpost position. steve
  11. Thanks very much Guys. I’m going to try out the smartphone app as I’m real curious. The fine tuner is a bogaro clemente. I have too much screw travel there; I have to watch that more. The f hole nicks I put there per the method in my book; I settled on a string length of 329mm in the end. I realize more and more how important setup is to the sound. Thank you all for this information and for your help. This forum is just plain awesome. Regards, Steve
  12. Ahhh...that makes sense to me; is easier! Thank you.
  13. Okay, I will free that E string. I think some folks use a parchment material I was reading about; I will try that. Melvin, the only way I see to move the force forward is to carve the ankle above that foot at the back side of the bridge at that position if I'm guessing right. Thanks
  14. Torbjorn, the E string definitely is going thru the bridge; seems to be under the top surface at the front of the bridge when I looked at it closely. I think it started out higher. Nick, I cut the bridge unfortunately. I think you are talking about the ankles being chunky? Thanks, Steve
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