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Everything posted by dpappas

  1. I love the Wittners as well, I haven't had to tune my main violin in two weeks (plus no fine tuner on the E throws people off all the time). I haven't noticed a tone or weight difference, although my instrument is very light so the added Wittner weight doesn't affect my playing.
  2. I am curious from the Luthier's who have installed Wittner Pegs. They are heavier (40 g for a fitted set, vs 14g for the "boxwood" ones that came with my instrument). I am curious if anyone has noticed a tonal difference adding the weight from those pegs or Peghed/Perfection pegs. I'm not interested in a debate about whether or not they are good, I'm just curious if anyone has noticed a tonal change. Thanks!
  3. Joe, Thank you! I suspected much of the work happened before the final layers were applied.
  4. I play both. Guitar is much easier, and can be self taught as already state. Violin really needs a teacher. The three key factors are ergonomics, intonation, and tone production. Guitars are more ergonomic/natural to play. Violins do not have frets, so intonation is unforgiving. Tone production in the violin is in the bow arm, and is such a vital part of the overall sound and projection. Learn both, stick with the one you like best, or play both for the rest of your days. You can't go wrong.
  5. I like the look of instruments with a dark spruce grain. I know this is a staining thing, and I suspect happens before the varnish is finalized. Or is it an antiquing thing? If it's the latter, how does one go about creating the effect?
  6. My son uses the string set David recommends (spirocores on the lower 2) and it is indeed an intense sound up close, which is a good thing if projection is the goal.
  7. David, he moved the existing post. Thank you!
  8. Thank you all, it’s humbling to have so many professionals give advice. I actually have a longer ebony tailpiece to try but since I’m happy with the post placement I’ll keep that and the thicker bridge on the back burner.
  9. Davide, I don't have access to my lab (the University is still closed...) so I can't comment on the magnet mass but they are 3x3 mm rare-earth cube magnets, pretty powerful but small. I used two on top and two on the other side (so 3x3x6 mm). Putting them on the plate, right next to the bass foot of the bridge, say 3-4 mm from the bass bar, increased the bass. I moved them all around, seeing where the extra mass changed the tone, it was similar to blue tack experiments others have tried. In the end, I took it in to my luthier this morning. He moved the sound post to a position he liked. I didn't tell him my complaint, I just asked him to adjust the post to his liking. What came back was better than what I would have gotten had I prompted him. The violin is back in working order. It's powerful, but balanced now. I can play a whisper pianissimo or a full fortissimo just by technique, which is what i want, but the shrill is gone. Oddly enough, the post is in the standard "sweet spot", more or less, but just slightly toward the bass bar (maybe 1 mm in from the "standard" starting point of mirroring the bass bar location, in the E-W axis. N-S it's about 2.5 mm from the bridge foot. Not where I would have expected it to be, but I'm happy with the sound. I guess I was grossly misaligned before. Thank you all for the replies. I might try obligatos if I feel I want it a little darker, but I am a happy man today. It's always good to let someone else work on your instrument, if they have the ears for it.
  10. My Current instrument is powerful, strident, bright...and almost painful to play. I love this fiddle quite a bit but I’m taking it in tomorrow for my luthier’s opinion and also to try out some other violins. The G is edgy and the E is ear splitting and powerful. I know a powerful violin is a good thing so I’ve also been thinking about some reversible things one can do to mellow out or darken an Instrument for the time being. Here are my instruments’s current “specs” strad model, castel boxwood tailpiece and Guarneri chin rest. Wittner finetune pegs. After length 54.5 mm, 108 mm tail piece (so about 5 mm tail gut length), nylon Sacconi type tailgut. Vision solo strings (not the Ti ones), a relative thin bridge (not abnormal, but not thick). String length is 328 mm and the sound post is 2-3mm behind bridge and matches bass bar with respect to bridge foot. I put a magnet pair on the bass side of the plate right by the bridge and it seemed to “boost” the low end as a test. any suggestions? Does Kevlar cut some of the high end?
  11. Thank you for posting this. Yes, a good violin sounds good, and a good violinist sounds good. I think a good instrument can inspire someone to sound better, but this really underscores that great skill is the bigger piece of the pie chart for me.
  12. I find Don's comments interesting, in that wood and arching sort of set the floor and ceiling of an instrument. I have a cheap instrument (100 bucks) that I was thinking of opening an regraduating just for the educational experience. Sounds like it's better to leave it alone and learn something different.
  13. I noticed the Da Salo's arching extended almost to the very edge, with very little scoop. It was eye-opening to see it firsthand. The corners caught my eye first. Although Del Gesu made smaller instruments (by back length), because the Da Salo I played was a bit larger than the modern standard.
  14. This week I was lucky enough to view and play a Nicolo Amati, a Rogeri, and a Da Salo from 1584, with a Pecatte bow, no less. The Amati had the best tone, but what struck me was the similarity in the design of the Da Salo with Del Gesu's later work. The upper corners, and the f-holes were strikingly similar. It's almost like Del Gesu had a Da Salo on the bench for inspiration. I'm curious if those with more firsthand experience see the same similarities.
  15. I use the $20 etymotics with 15 dB reduction in both ears. They work fine and let me hear enough without killing my hearing.
  16. In previous threads, an anecdote emerged about Rene Morel thumping a ruler that was hanging off the table, and retracting it as it oscillated. It was related to sound post fit and tone. I've been thinking about this (and whacking metal rules for a good twenty minutes), and I'm asking the experts if my understanding is correct. A tighter post would allow less vibration, but would also favor higher frequencies. A looser post would allow more plate movement, but at the same time would favor higher frequencies. I know this is an oversimplification, but I found that shaving a think slice off a sound post and putting it in the same position resulted in a similar effect, a deeper tone.
  17. Michael, I've wondered if a slightly more massive bridge would calm a violin down.
  18. There is also a Joseph Curtain violin from 2003. A traditional, not one of his ultralights.
  19. The wittner geared pegs fit in using friction, so it’s reversible. There are two strad violins with wittner geared pegs in them. That article you mention is just pointing out people are slow to adapt. If you want tuning stability and built in fine tuning, then install wittners. They are great.
  20. Interesting work. Your data could be better presented by going metric, and then also by using the scale function on your graph. The length data is something I'd like to see closer, as the 0-15" scale compresses any variation. There is no reason to have the origin at zero, there are no zero-length violins. Sorry for nitpicking, I just thought it might help.
  21. Thank you to all who replied. I trust David's advice, I'm going to spend the time practicing, rather than fretting over a dirty bridge.
  22. Thanks, Don. I planned on doing it the next time the strings are off or if I get a string jack. I appreciate the advice, as I don't want to go near my instrument with any solvents (I'm a chemist, I know what will happen).
  23. Andreas, If you mean the varnish on the top plate, it's pristine. I'm pretty religious about wiping down my instrument and keeping the top clean. It's just the bridge that has gotten surprisingly dirty. I wonder how much of it is rubber markings from my old practice mute.
  24. Thank you for the suggestions so far. To be clear, I'm happy to leave it as is if cleaning risks the sound.
  25. I searched, hoping this had already been covered, but found nothing. I have a violin with a bridge that has a bit of darkened rosin built up and perhaps marks from a rubber mute on it. I could replace the bridge, but I like the sound I'm getting from this instrument. Are there any safe tricks for cleaning a bridge? Since it's unvarnished I wasn't sure if it's possible.
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