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Shunyata

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Everything posted by Shunyata

  1. If I didn't know that it was sitting on my piano, I would swear that was my first build... the 2017 "Home Depot" violin. In my case, the violin sounds exactly like it looks.
  2. I thought this discussion was overkill until I did the math. A 1mm scoop can only move the contact angle by about 0.25 degrees in first position. But the string angle with the fingerboard is only about 1.25 degrees. So scoop can alter this angle by as much as 20%!!!! Wow! There is so much to learn!!!
  3. Chemical staining (e.g. sodium nitirite) and raising the grain before finishing (e.g. wetting when applying a plaster gound) can contribute to this effect.
  4. The wood for my first build all came from Home Depot! I agree with the lumberyard suggestion -for all of the parts for your first build. You don't need highly aesthetic grain for a first build. You can make a neck by laminating 3/4 in stock with Titebond. Cheap and fine for learning! Stewmac.com is generally cheaper than the other sources you mentioned, and they sell in different grades. I have never had an issue with their AAA selection. The lower grade stuff is perfect for experimenting with.
  5. Oh my... and the viola bashing begins. I was very confused by all of this, until someone explained it's "humor".
  6. So what you are saying is that a properly glued neck doesn't need a glued button. That doesn't take away from the possibility that a properly glued button doesn't need a glued neck. For certain, the neck joint is redundantly strong. So these discussions are purely academic until someone considers less redundant construction method - like leaving buttons unglued. I am a belt and suspenders guy, and will continue to glue buttons. Might not be necessary, but clearly helps whether it is needed or not.
  7. Easy to check experimentally (on a junk violin, mind you). Glue just the button and see how much string load it can take before it breaks. With a clamped glue joint and hide glue, I will bet it can carry nearly the whole load, if not all. All if the glue surfaces at the lower end of the joint seem like the should be important. The top, not so much.
  8. ...and I am a novice violin maker who is indebted to the kind comments of all Maestronetters while on my learning journey. Being a grateful student is good for the heart and mind.
  9. I am a control systems engineer and know a few things about signal processing. ;-) (Seriously, although at least one of my old professors would smirk to hear me say it.) That flat line definitely had an amplitude of 5, which is definitely a thing. Like Mr. Burgess, I actually had atmospheric pressure in mind when I first wrote it!
  10. On my screen it has a constant amplitude of 5, not zero. Still isn't audible though. Amplitude without frequency doesn't mean anything. Kind of like the Mona Lisa painted in just one color... an interesting thought experiment but no one would agree Mona Lisa was involved.
  11. No need to bang your head, modulated or otherwise. Pigment + canvas produces the impression of Mona Lisa even though there is no Mona Lisa there. C + E produces the impression A lower G even though there is no G there. Voila, Tartini tones! (...by the way, this is an example of what Buddhists mean by shunyata.) An interesting suggestion by an earlier commenter was that the physical construction of my violin may have pushed C and E too far out of phase to get a strong amplitude on the mirage G. I left the G side rather heavy when graduating. And I do get moderate Tartini tones on thirds not involving the G string... There might be something there.
  12. I started this posting with the comment that I didn't want to get into a debate of whether Tartini Tones are real... but I knew we would wind up there. I would point out that a tone is a standing wave of high and low pressures, with amplitudes that oscillate at a fixed frequency. An interference tone (resulting from two fundamental tones) is identical to a fundamental tone is this regard... a high amplitude that occurs with lower frequency. Mathematically an interference tone isn't anything extra - it happens automatically when you have two fundamental tones. FFT picks out the fundamental tones and ignores the automatic interference tone - unless the amplitude is different than you would expect from adding two fundamental tones. If C + E automatically produces a lower G (what my tuner says) then FFT would not show the G, unless the G was quieter or louder than you should mathematically get by adding C + E. Ears are nonlinear in the sense that they do not perform an orthonormal decomposition of the sound signal (e.g. FFT) and discard the automatic interference pattern. Ears hear the G! Viva la difference! I suspect Tartini Tones are just audible interference tones. For some reason the interference tones are damped on some violins.
  13. My newer violin that lacks the Tartini Tones, has heavier plates. I wonder if it isn't flexible enough to strongly generate cleanly differentiated, dual frequencies and the resulting Tartini tones. On my current in-flight build I am paying more attention to the plate flexibility, and to keeping the weight down. It will be interesting to see if it has stronger Tartini tones. I hope that some of you have additional ideas i can explore. My tuner is just a cheapo Korg CA-1. Not sure what the circuitry is picking up. But my instructor uses the effect to reinforce proper tuning of third and sixth intervals. When the tuning is right, the Tartini Tones kick in and you can see the tuner flip.
  14. I dont want to get into a discussion of whether Tatartini tones are real or not, but... I have I 100 yr old violin that plays wonderfully strong Tartini Tones and when I play thirds, my tuner actually registers a note a fourth lower than the root. I have another new violin with weak Tartini Tones and when I play thirds, my tuner registers the the root. What aspects of the violin build control this behavior. Or is it just age and playing in?
  15. I hope i am using the term properly. I am talking about the distance between the bottom of the fingerboard and the belly plate, measured at the neck joint. Do I measure from the bottom of the purfling channel or from the top of the plate edge? And what height is usual? My internet search says anywhere from 5mm to 7mm, depending upon the source. Thank you!
  16. Basic geometry of conic sections tells us that the only way you can have a constant radius of curvature and a flat fingerboard is to have a neck with sides that are elliptically curved. That doesn't work very well with straight strings. On the other hand, straight sides and a constant curvature will automatically result in a scooped saddle shape in the fingerboard surface. I wonder if the scoop is an artifact of geometry rather than an ideal shape?
  17. Thank you for your comments! I have completed my Shaping and have a weight of 73g. Does this seem reasonable?
  18. I have a template. When I compare against a fingerboard blank, the template fits perfectly at the wide end. But the blank has a much tighter radius at the pegbox end - the template suggests that I will need to flatten the blank at that end. Am I interpreting the use of the template properly?
  19. Does anyone sell fingernail profile gouges, or am I going to need to grind my own? If I go that route: 1. Where do people get their stock? 2. How do I avoid killing the tempering in the steel?
  20. I also see that your incision makes a SHARPER angle between the two surfaces at the eye, while my shaping keeps roughly the SAME angle between the surfaces throughout the entire volute spiral. While my shaping steepens the angle and the eye a little, there is a limit to what I can easily do because of the steepness of the spiral slope in the last bit of turn going into the eye. Making the spiral slope more even throughout the volute - as others have suggested - would help with this. Thank you all for your kind assistance. I am self taught and everything I have learned, I have learned here on this forum!
  21. Thank you Davide. This make a perfect sense. I had been struggling to figure out an approach to this area!
  22. I can see that I haven't done this. And Davide clearly DID do this. And I can see this would solve my problem. But I do really like the look of the steep final windings. I will just have to figure out a way!
  23. Also, I have no carving experience before this. So I always appreciate advice. Thank you!
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