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Cathode Ray

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  1. Thread title "might" be missleading... Just saying.
  2. Don't hear much talk about this(area) but I would think edge compliance would be a significant factor. Channel depth, placement and purfling groove depth all being contributing factors. Perhaps even lining size and material.
  3. Actually it was Saturday when I visited George Behary at his home in Loxehatchee. I am new to fiddling and he was gracious enough to share his insight and knowledge(which is extensive!) with me. I have made a couple fiddles and was searching for a critique of my work. We talked violins old and new how each of us came to our interest in them. George is not only a competent luthier but a very accomplished machinist - he showed me specialized luthiery tools he has made. We discussed our common interest in things ranging from aircraft to beer brewing - he a true renaissance man. It's nice to know there are people around willing to share and help the neophytes. Thanks much for your time and knowledge George. Cathode Ray (aka Ashley Davis)
  4. I would be interested in a couple tops if still available. Like the idea of using native wood.
  5. In light of the results of double blind listening studies on old vs new violins, would it not be more expeditious to look at more current arching/thickness numbers from accomplished makers? The task at hand is after all to make good instruments with "existing" woods. They are being built and whether a result of plate tuning or intuitive flexing and feeling is irrelevant. A database of current specs would be more insightful/useful to me. But what do I know...
  6. In the case of guitars/mandolins I think it has a lot to do with body vibrations. Side and back radiate to the player more than top which projects outward to the audience. So "loud" to the player is "wasted" energy(not directed to audience). With a violin, it's in your ear any way you look(listen) at it. Direct sound transmission through jaw is also a big factor so it's hard to discern where sound is from or going.
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