Shunyata

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About Shunyata

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  1. Before feeling too sanguine... https://www.cdc.gov/mmwr/volumes/69/wr/pdfs/mm6912e3-H.pdf
  2. Shunyata

    violin linings

    I use redwood or cedar. Looks and smells nice. Not the easiest to bend, but holds its shape pretty rigidly.
  3. In followup analysis on the Diamond Princess, they found the virus survived up to 17 days on cabin surfaces. I can chase down a link to the research of needed.
  4. Absolutely. Submerge your wood for a couple of weeks. Then allow the wood to air dry, using weight (when the weight stops changing) as a guide for when drying is complete.
  5. I too had the exact same thought!!!! Gee, quarantine me in my shop with my dogs... what's the problem?
  6. Thank you, John! I will reach out shortly.
  7. My wife would be happy to come with me to Fredericksburg! Definitely a plus!!!!
  8. I am in Columbus, Ohio and have a day job. I am also near a point where I can retire. Building and repairing violins sounds like a wonderful Act II. I am an amateur builder now, with 7 or 8 instruments of experience. I am at a point where they sound quite good, but I still have fundamental skills to develop. What would be a good approach for getting effective training now, something that I can do while keeping my day job?
  9. Shunyata

    New Strings

    Regarding the cost of Evah Gold... they easily last twice as long as other strings. With heavy playing, I get 5-6 months out of them - and even then they sound good enough to put on one of my beater violins. False economy is no economy at all.
  10. Shunyata

    New Strings

    Try Evah Gold for a string that speaks well everywhere. (or Obligato if you want lower tension, but the color is darker).
  11. Shunyata

    Wolf Tones

    A note that falls off in clarity and tone, on multiple strings. In the worst cases it will actually warble and chatter, not articulate well. My problems are mostly leas severe. Since writing the original post, I have found a post position that largely eliminates the problem. Still don't like the sound clarity under ear, but it sounds perfectly normal at a distance
  12. Shunyata

    Wolf Tones

    I suspect this topic will wind up as heated and controversial as plate tuning... but here goes. My latest build has wolf tones centered between B natural and C as follows: Strong C natural wolf on the G string, in the normal place. Very mild C natural dampening on the D string. A nasal, less responsive B and C natural on the A string, more of a color difference than anything. This is the one I really want to eliminate. I have read that lightening the neck in the first position area can help with the A string. (Maybe a moot point on an already varnished instrument.) Is this true? Moving the sound post a little north and the bridge a little south seems to really moderate the A string without choking the E string. If I go even further, I can virtually eliminate the A string wolf, but lose significant responsiveness across the instrument, especially the E string. Are there other adjustments I should try? Changing the string afterlength seems to affect brightness and responsiveness, but not too much impact on wolf. Does that seem right? My fingerboard is a few mm longer than my "professional" instrument. Could this be a contributing factor?
  13. As a violinist myself, I have a little leg up on knowing what is desirable. The difficulty is knowing how to produce it!
  14. I was responding to someone else's suggestion that a bulkier neck was affecting tone. I don't know if that is actually true, but it's worth investigating. Myself, I prefer playing with a bulkier, rounder, less steep/less oval profile. It makes it easier for larger hands to support the violin during vibrato. I learned my scroll working from a bulkier Guarneri scroll template. And i think i have gotten pretty refined in my control of its shaping. But I have always had an eye for some of the lighter scrolls I see on some of the French instruments. And my neck heels are simply to deep by about 3mm. Makes highest positions on the E string even more challenging! I've written this down on my reminder poster in my workshop. (My first entry is don't cut the button off. My second is don't cut the neck mortise upside down.)
  15. I will do exactly as you all suggest! I have an otherwise reasonable violin with crapped up the finish. It is an earlier build where I didn't handle the ground right and wound up with poor adhesion. In addition, my overall workmanship isn't up to my current level. So i won't worry about banging it up, but will be working with good enough quality to actually learn some things. Let the sound post setting practice and positional studies begin! Are there any position experiments this group would be interested in seeing? (Please don't ask me to tilt soundposts just yet!)