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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
  15. I have a concern with the bridge I carved on my violin. I have noticed that the E string sounds very clear, but is a bit bright, and either the amplitude is too great, or perhaps it is harmonics. The G and D strings sound very good to me; the A sounds good. The sound post is in a good position I think; not too far to the treble side, but is centered under the foot and about 2.5 mm back and vertical. I wonder if the overall mass of the bridge has been reduced too much. Here are some pictures and some measurements taken under the E string on the bridge. If you have any suggestions, I would be most appreciative. Thank you, Steve bridge data.pdf
  16. Thanks guys for the input. Violin making may be more complicated than rocket science.
  17. Thanks Conor. I’m actually a pretty old school thinking kind of guy. I think i’m not going to mess with the b0 matching anymore;i was having trouble with it anyway. The violin is finished and I really don’t feel comfortable about doing anything more to it where I might cause any damage. I think I’m just going play it. I need to attend a workshop someday to learn better ways to do things I was having trouble with on this first one, like some of the more basic aspects of building. I appreciate the help. Steve
  18. Thanks Jezzupe. A whole slew of techniques for luthiers to use. I might try some more of these methods in the future, and for now just getting my feet wet a bit to understand some basics. Regards , Steve
  19. I was able to find my way around just fine by finding the index shown in the notes under the videos. Your violins look great; thanks for sharing with us. The B0 on my violin actually wasn’t E it was B. I must be misinterpreting my results or something, or my violin exists in an alter-universe. thanks, Steve
  20. Thanks guys, great advice. I appreciate your help. i taped different coins to the underside of the end of the fingerboard, and I didn’t detect hardly any difference in sound quality but the weird thing is that the frequency goes up instead of down when mass is added to the end of the fingerboard of this violin (even my wife agrees). I am holding it inverted above the shoulder, thumb and finger pinching it at the lower bout side purfling, strings muted by touching my shoulder and thumping the scroll. Using the piano to compare the notes. Hi Davide; your videos sure did help me out with my violin making. Thank you. Steve
  21. If one were to lower the B0 mode on a completed, varnished violin, how much wood has to be removed to lower the B0 from E flat to match the lower part of the violin; D or even C. Here is a link to Patrick Kreit's page regarding B0. http://www.kreitpatrick.com/index_fichiers/Page21355.htm in the photo of the fingerboard, removing mass from area 1, 2 is supposed to lower the frequency. I thought I had read somewhere that removing wood from the fingerboard on the neck (left of where "0" is shown, and not on the part of the fingerboard extending by itself over the body of the violin) would perform that function, so maybe scraping the edges of the fingerboard would be good? It seems that planing just the top of the fingerboard area over the neck would mean that the current symmetry of the entire fingerboard is altered and would be worse than just scraping the sides of the upper part of the fingerboard. I'm not sure exactly where this operation should occur, and how many fractions of a mm for example would be necessary to lower B0 by an entire note. Any ideas or suggestions? Thank you, Steve
  22. Thank you. if I were to make another violin I would try to use some deeper color in the varnish when doing the scroll volutes and in other areas while still trying to keep the varnish layers to a minimum for the acoustic reasons I read about on this forum. I used my fingers to apply the varnish but not the ground. i would also like to get a smoother transition between the neck and the varnish so it is not such a sudden change (line) but I wasn’t exactly sure how to do that; I didn’t want varnish to get into the playing portion of the neck really. With the corners I started on the back first so I would be better at it by the time I got to the front. It seems there was never anything easy about making this; every step was a challenge. I have a lot of respect for you makers. There is something about the arching of Stradivari’s violins that intrigues me. I used the arching examples from the Sacconi book and used the Titian poster, but I would like to do better in that area. Regards, Steve
  23. Thanks y'all. To record a sound sample, I would want to get a good microphone. I should say that in comparison to the fiddle I’ve been playing on which sounds about like a 2 x 4 piece of lumber with strings, my wife hasn't complained as much about my playing, but I need to give it more time to be sure. The varnish I used on the violin is Joe Robson's dark rosin clear varnish, and also the purple alizarin color concentrate varnish. Regards, Steve
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