Adrian Lopez

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  1. Things you learn when you're just starting out: Sanding down the shaft of a violin peg by even a small amount will have a huge effect on how far it goes into the pegbox. For a peg with a standard 1:30 taper, taking as little as 17 microns (0.017 mm) off the surface of the peg shaft all the way around will cause the peg to shift in the peg box by 1 mm. For scale, this means sanding down the surface of the peg shaft by the thickness of a piece of printer paper (about 100 microns) will cause the peg to shift by 6 mm, which is huge. So this is how the head of peg I was "lightly" sanding to make it smoother and give it back its color ended up 3mm closer to the wall than before I started and the string hole ended up in the wrong place. It's all so clear now that I've done the math, but I wasn't expecting a bit of sanding would have that much of an effect. Anyway, live and learn.
  2. I haven't tried it, but I doubt the camera is quite that sensitive.
  3. This is only meant to substitute for the specific trick described in Johnson & Courtnall where you touch the peg to your lips. If you don't do that or you don't need anything more precise then of course there would be no point to the IR camera. Luthiers have managed to do without infrared cameras literally for centuries so it's not like this is really necessary, but I find it an interesting visualization and a possible aid. It's not intended to be the sole method by which the fit of the pegs is judged.
  4. In Johnson & Courtnall's The Art of Violin Making the authors suggest that in order to test the fit of a new peg one should spin the peg in the peg box and touch the peg against one's lips to make sure both ends of the peg are equally warm where they touch the peg box. I tried this and found it difficult to detect any heat with my body, so I figured I'd use my infrared camera (FLIR ONE Pro) to gauge the temperature. You can see at first glance in the last two pictures that the peg does not have good contact with the left peg box wall, so I will need to shim the peg in the shaper or adjust the blade to better match the reamer's taper. I'm sure most of you have your own approaches to this and they work well for you, but I thought I'd share this just in case anybody finds it useful or interesting. The scroll and peg box before spinning the peg: The peg, scroll, and peg box after turning the peg a few times: The peg removed from the peg box, showing only one side getting warmer:
  5. I suspect it was something that others consumed.
  6. I don't care how good your software and equipment are, in the end you can't get around the fact that light travels at 299,792,458 meters per second and needs to travel both ways for any kind of live interaction to take place. Add other sources of latency and you can just forget it.
  7. I have no personal experience with this, but most of what I read some number of years ago while researching the matter leads me to believe that either a small diaphragm condenser or a ribbon mic would be best for recording violin. Here's one article suggesting the same: Fiddle Fiddle Big and Little Of course, the microphone is only one factor. Microphone placement and recording environment are also important.
  8. Didn't know about Reverend Morris, so I looked him up and found this blunt little gem in his dictionary:
  9. It looks like the videos are unlisted, which means anybody who has links to them can watch them but they won't show up on searches at all.
  10. Then you know that theft and copyright infringement are very different offenses, both morally and legally. Whereas stealing from a museum deprives the museum of the original article, copying an image leaves the original intact. Whereas theft is a crime, copyright infringement is usually a matter for the civil courts. Let's not make a bigger deal out of this than it really is.