Danube Fiddler

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  1. Danube Fiddler

    Tap Tone or Plate Tuning Equipment

    It is always a very good idea to just listen. Especially because at the moment the technical approach to separate fine violin-sound from mediocre sounds seems to be not very good developped. However I think, that most research still is based on time-averaged spectra. This view is to easy and seems not to give good results. Needed could be a more time-depending approach - damping would be one. Musicians sometimes speak of lingering sound or fastness of response = time-depending effects. You don´t have to see it, you can hear it while playing, but it is not easy to separate from bowing-technique.
  2. Danube Fiddler

    Tap Tone or Plate Tuning Equipment

    May be it is technically wrong - please tell me, if so - I would hope to have a good actual reading, when the peak is quite fitting to a Lorenz-curve a little bit more than 3 dB or a half-height in soundpressure - I would be satisfied even then, when only one side of the peak would fit quite well. Sadly the most peaks will not fit enough - and here I will try this : several micro - positions to eliminate detrimental directional radiation-effects - just an idea. Your procedure sounds quite interesting. Did you compare an obviously bad violin to a quite fine sounding one in your damping readings ?
  3. Danube Fiddler

    Tap Tone or Plate Tuning Equipment

    I would like to measure ( total ) damping in a complete violin. My assumption is, that if there comes out something at all, there would be a wild field of quite different damping values (one for each peak, highly depending on the main nature/shape ( e.g. proportion of cross-grain or longitudinal bending/ cutting fibres in several directions of arching and numberless other factors ) of the related mode.). To measure one simple mode in a wood blank ( tonewood wedge ) can be easier. The 2-0 ( lenght)-mode of a wedge could be a first indication, it normally has good shapes. However I am afraid, that the cross-grain damping is more important, because it is higher. Sadly it is more difficult to measure. I don´t have any idea, if "the" damping of an easy-wedge-mode is a good indication for the final damping-values of the assembled violin at all, which could be highly determined by a big number of several factors, lying in the archings/ shapes / grain-courses / varnish / combination of wood-properties of all oscillating parts/ graduations .... My idea is to measure many peaks of a responsive - curve ( spectrum of a bridge-impact ) and eventually get a valuable info from this.
  4. Danube Fiddler

    William Fry Internal Scraping Method

    Very elegant !
  5. Danube Fiddler

    Tap Tone or Plate Tuning Equipment

    Some physicists (e.g. Güth, who had written "Physik im Geigenbau" [ " physics in violin-making" ] ) assumed, that damping could play an important role in the violin acoustics. However often was told, that damping is extremely difficult to measure. If one has luck, a responsive-curve / spectral peak has a shape, which is fittable to a Lorenzen - function. Then the damping ( = 1/Q) can be calculated as damping = F(peak) /( F( right side at half-height ) - F (left side at half-height ) ) The problem is, that many peaks don´t have a sufficient fittable shape. So I think needed is a comfortable tool for a fast peak-analysis - if a peak is not suitable, you didn´t loose much time and you can change something to improve the peak or look for the next peak. Using freeware I need at least 5 min for one peak ( import from audacity / cutting out the wanted spectral area / curve-fitting itself / calculating the damping from the half-height-points ) - that´s too cumbersome and results in the fact, that I will forget it.
  6. Danube Fiddler

    Tap Tone or Plate Tuning Equipment

    Thanks for advices ! I did some peak-analysis with free-software, however it was very cumbersome and sadly no calc - routine for peak-width at half-height. All comfortable curve-fitting packages seem to be quite expensive ~ 1000 $. Good to know of matlab, but in a short view I am not sure, if it does a comfortable peak-analysis.
  7. Danube Fiddler

    William Fry Internal Scraping Method

    Very interesting discussion ! At first my personal experience : scraping ( changing graduations) really matters, while I at the same time agree with your observation, that some typical character of a violin can/will remain the same within the altered sound. Perhaps I could compare with the fact, that your wifes voice will sound different in a phone call, but you will recognize her voice - something remains the same. May be the violin remains the same while any kind of graduation - tuning, but its "clothes" are changing, which can make a considerable difference. I don´t know the Fry method, I rather like outside- tuning or re-opening the instrument, this also is, because I don´t like sandpaper on violin surfaces very much. Generally the effects of random - tuning or an experienced/ learned tuning could be extremely different. As you told, your reason for any kind of grad-intervention would be a quite wrong stiffness. Since there are so fine methods like this of Dr. Harris to control single - plate-stiffness - did these methods fail in predicting the final total stiffness of the assembled instrument ?
  8. Danube Fiddler

    Tap Tone or Plate Tuning Equipment

    Would any of both software allow to do peak analysis - curve fitting ( for damping calculations ) ?
  9. Danube Fiddler

    Tap Tone or Plate Tuning Equipment

    On www.platetuning.org is told some equipment.
  10. Danube Fiddler

    Stradivari's secret was a concept?

    This inclined position of the post I have seen on nearly all CT-Scans of violins - it seems to be a normal-position, however on this picture it is quite highly expressed.
  11. Danube Fiddler

    Oil Varnish

    This I also would have expected. Found in your own experiments with resin-free linseed oil ? - with a comparable hardness like e.g. a sandarac-raw-resin or even like glass ?
  12. Danube Fiddler

    Stradivari's secret was a concept?

    I did not know it, that one is free to put the bridge anywhere. The height of the bridge is determined by neck-angle, fingerboard overhang and arching-height, which will remain quite constant in an older instrument while longterm-continuous use, at least in violins ( may be very little change by big humidity- changes). The bridge-height also depends on the players wishes about the fingerboard- string- distance as well as on the thickness of the fingerboard, which decreases in the course of its lifetime ( in continuous use of a professional musician ~ 15 - 20 years ). After the replacement of a fingerboard normally a new higher bridge is needed, sometimes with complications in sound-quality.
  13. Danube Fiddler

    Oil Varnish

    Did you ever see a completely hard layer of pure linseed oil ( that means without resin ) ? Since I have read of a re-softened poppy-seed-oil layer in a famous painters textbook ( Doerner or Wehlte ) my personal assumption is, that in dried oil-layers generally could be something like a balance of hardening and softening processes. May be the balance-points change very slowly into the more harder direction - normally. However the whole oil-drying thing is according to wikipedia infos chemically/technically not completely understood. In a little bottle with sun-thickened linseed oil, the oil seems to be extremely high-viscous - until I turn it some few times - after this it is much lesser high-viscous. I speculate, what happens in the course of centuries while playing the instruments, within the linseed-layers.......
  14. Danube Fiddler

    Oil Varnish

    Sounds good ! May be, only a little bit of resin can catch the stickyness of a thickened linseed oil, if it should have it at all. May be this was the ground, Echard et al had found.
  15. Danube Fiddler

    Choice of linseed oil

    Do you use it just in this condition ( for varnish or ground) or do to go on with some treatment ? Are you admirer of Paganini or of the Cannon or both ?