Jump to content
Maestronet Forums

Bodacious Cowboy

  • Posts

  • Joined

  • Last visited

Everything posted by Bodacious Cowboy

  1. Excellent description from Michael R, but just to add some points to help you avoid a sticky disaster if you're inexperienced at this: 1. The cloth should only feel barely damp before polishing begins. I put a bit of alcohol on the cloth, apply a few drops of shellac polish to a board, then rub the board vigorously until the cloth is almost dry, then wipe on a tiny drop of oil. 2. Never stop moving the cloth during the polishing process. 3. Don't practice on fine violins or antique furniture..
  2. I think this is already well understood by those who know about these things. My (undoubtedly flawed) understanding is that the "force window" for clean Helmholtz motion of the bowed string is significantly smaller for a heavy string stopped at a high position. So it's more readily disrupted by the vibrational body mode responsible for the wolf tone. I guess someone like Marty will be able to give a more authoritative/rigorous explanation.
  3. I'll have to add that one to my repertoire of "things to tell players when I don't know what the hell is going on, but have to seem like I know what I'm doing..."
  4. I'd rather eat my own ear wax. I agree with Wood Butcher that whatever you do is unlikely to lead to a leap in performance of this instrument. But if you fit a narrow bridge commensurate with your bass bar position, you'll at least look like you know what you're doing .
  5. In my humble opinion, trying to move it to fall between notes is an exercise in futility.
  6. 38mm bridge will have the ankle on the bar. Best practice is to choose a bridge width that works as well as possible with the bass bar position.
  7. I'd be inclined to fit a 38mm bridge (a 4/4 38mm, not a 3/4), and put the post in the "usual" position, without worrying about matching the bar overhang.
  8. It's always nice to see other how other folks approach the various processes. I have to admit to using the YouTube 2x speed button when I've watched your videos . No disrespect, it just saves a lot of time and no information is lost.
  9. How much curvature are you curved sole users putting into your fingerboard planes, if you don't mind me asking?
  10. That's just (approximately) the speed of sound in air at room temperature. It varies between different gases, let alone solids, liquids. It's why your voice goes squeaky when you inhale helium.
  11. Well, CNC accuracy is way, way, way beyond what you need for this, and making such doohickeys yourself provides a good opportunity to improve tool skills. At the risk of outing myself as a total neanderthal, I do most of whatever sanding I need to do to an outline with sandpaper wrapped around chisel handles of appropriate diameter...
  12. Thank you, Marty, and humble apologies for my levity.
  13. Well, Strad O will get that with his new Veritas. Have to say, I've never found it necessary, and I prefer the simplicity of a 102 block plane.
  14. In my experience, PMV11 without a doubt. A PMV11 blade in your Stanley should be fine, but if the plane needs work, and you don't have the time or inclination for that, the Veritas "apron plane" is an excellent choice.
  15. Somebody more knowledgeable will have to correct me if I'm wrong, but I think it's more a matter of the back having sufficient flexibility, rather than being low weight for its own sake. If the back isn't flexible enough, then the volume changing breathing modes of the box are inhibited. But I'm very low on the violin acoustics learning curve. I spend too much time making these crazy wooden boxes to do much book learning...
  16. So, Marty, do you think it's misguided to prefer to use low density maple for back plates (or to thin higher density maple plates to get a low target weight)?
  17. Sure, but some kinetic energy's also lost in internal production of heat in a rubber ball. Because rubber exhibits strong hysteresis: the stress-strain curve isn't the same for loading as it is for unloading, so you don't get the work back that you put in during stretching when it goes back to its original state. The area of the hysteresis loop in the stress-strain curve quantifies the energy lost due to the internal friction of the long chain polymers in rubber untangling/retangling in the stretch/relax process.. (I'm sure you know this already)...I think that this is what David Beard is referring to. I still think it sounds wacko to say that wood (or steel, diamond etc) is more elastic than rubber. But it's true that these materials show more "ideal" elasticity than rubber, as they have linear stress/strain curves (below the onset of plasticity) and negligible heat is dissipated in the stretch/relax process. It's why steel balls work better than rubber ones in a Newton's cradle toy. See also elastic and inelastic collisions. Lord knows how this is relevant to violin making...
  18. Thank you for this welcome injection of sanity. I was just about to install a set of violin ribs in my tighty whities.
  19. Are you sure? FB projection looks high to me, and the neck seems to run off quite severely to the bass side. But I know photos can be deceptive.
  20. Or because it has a more complex shape that makes it less likely (compared to a simple bar of wood) to have a harmonic series of overtones that would give a clear musical ring? I don't know, I just remember reading about this kind of thing applying to pitched and unpitched percussion...
  • Create New...