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JackSchmidling

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  1. Seems like at least half of the arguments for using Maple for bridges is the ease of cutting it. One can't help but wonder if power tools had existed "back then", if the preferred wood may be very different now. Having a fully equipped wood and metal working shop which includes a few hand planes that have never been used, it is hard to understand why any one would use a knife or hand plane to shape a bridge. I can do on a belt sander in 30 seconds what one could spend an hour or so with the traditional tools. So, the obvious question is... why not a belt sander? Jack
  2. Getting back to the res freq test set up, I took a piece of maple 5 mm thick and 30 x 50 and milled away 2 mm of one surface down to about 1/4" from the bottom for the feet in the vice. Before milling, it had a res freq of around 800kc and after milling about 600 kc. This is exactly the opposite of what I had expected. What am I missing? Jack
  3. The fact that the clover pattern is repeated in the hole in the bridge says something about art vs science of the shape of that hole. So how is the wood heart attached to the bridge? Looks like it's screwed down right into the top but obviously not. js
  4. You will have to take that up with Wiki as it was a direct quote and I never heard of the stuff before I got into this. To a naturalist of any repute, common names have always been a plague and source of misunderstanding. Jack
  5. Good question. I was hoping someone would tell me. I sited several sources of papers on the subject and spent several days running experiments. I was under the impression that it was some sort of QC test on bridges. If the resonant freq was not somewhere around 3 kc there was something wrong with the bridge. Some how it even applies to blank bridges. I am learning how to make bridges in the process but this isn't helping much. More fun than practicing though. Jack
  6. Speaking of bricks, my wife just humbled me. I made a simple bridge from 5 mm thick White Ash and was delighted with the results. It has two simple feet and no other cutouts. The top edge is beveled on the FB side to about 2 mm just to reduce the width of the notches to something reasonable. The rest of the bridge is still 5 mm wide. It weighs 4.68 G and the res freq is 1.3 kc I was in love because I could play it with no pain to the ears, the E string sounds wonderful. I played it for my wife and she pinched her nose and said "it sounds like this.... your violin has a very bad cold". I recorded a bit and agreed. Boo Jack
  7. This is most amazing. I was reading your comments on a thread from 2013 when a notice flashed up that you just responded to this thread. .... WOW! Not sure I see how the position of the mic effects anything but the signal to noise ratio. If I could still see the signal from across the room with the mic, it would still be the same frequency. Problem is I can't find anything near the supposed 3kc sweet spot. ... Interested in your comments on blocking the rocking with wedges as I have tried this several times using tooth picks in various bridges and see not effect. I will check out the other thread you suggested. Thanks, Jack
  8. Per Wikipedia..... Bosnian maple is a type of Acer platanoides, a European mountain maple indigenous to former Yugoslavia. It was a very high grade of maple, very light and ... Norway maple (Acer platanoides) ......... Just different common names for the same species. Would be hard to get a flat piece of the proper grain the size of a bridge from bamboo. Jack
  9. This is a picture of my setup and is as described here: https://josephcurtinstudios.com/wp-content/uploads/2017/06/bridge_tuning.pdf I used a cheap electret lapel mic and the free FFT program "Visual Analyzer" from http://www.sillanumsoft.org/ It's a fantastic program that does just about anything you would want to do up to about 20 kHz. As you can see, this bridge has a resonant freq just a little over 1kHz and a smaller one just below 2kHz. It was 3kHz before I cut the two slots to allow the upper half to rock. Why this happened I haven't a clue. Lot's more to be learned here and there is a great deal of literature to read on the subject. Just Google "violin rocking frequency". Jack
  10. Now that I know everything there is to know about "carving" a bridge, I thought it time to learn why the world is so stuck on Maple and so called Bosnian Maple, in particular. Being endowed with a forest mixed wood, including several species of Maple, I thought it would be fun to try some different woods. Taxonomically, there is no such thing as Bosnian Maple, it is simply Norway Maple growing within the reach of Stradivarius. Fortunately, it also grows in my forest but unfortunately, the piece I have been using for my bridge building has been Silver Maple. Could be splitting hairs and not worth re-doing what I already have done and I doubt that I have any Norway seasoned and quarter sawed. As differences generally show up better with extremes, I decided to try the hardest and heaviest wood we have around here and made two bridges out of White Ash (Fraxinus americana). The only obvious difference I could detect was that the E string was muted or buffered or whatever you want to call it to the extent that I can play all day without ear protection or a mute. I don't know yet if it was really the wood or something else that caused this but clearly there is some way to deal with the screeching E string by mods to the bridge. Specific suggestions would be appreciated. BTW, since my last thread on my "revolutionary bridge" I have implemented a setup for measuring the resonant frequency of bridges, blanks and wood in general but not sure what I learned is of any direct use. Fact is though, the only bridge I have that was anywhere near the so-called sweet spot of 3000 Hz was the scoffed at thing I called JS91 which was exactly 3000H Hz. The $100 pro one was under 1000 . So there you have it from the inquiring mind for today. Jack
  11. Adjustable f holes are a great idea but if they are computer generated and allow all possible combinations and permutations, you could end up with an A hole which would be frowned upon in polite circles. js
  12. That's easly dealt with by using square pegs. js
  13. The three 3 mm round holes produce a tintinambulating vebilfeltzer which neutralizes the rocking frequency up to about 2 gHz or a bridge height of 1000 ft. It would then require aircraft warning lights which would spoil the artistic effect anyway. Jack
  14. Now that we have had a little fun, it's time for the reality check. Strangely, that's not so simple or pleasant to accept. Either I should go back to the piano or there really is a lot of humbug in the bridge construction and setup. To review, I bought this violin new, 50 years ago and the original bridge seemed a bit warped and I also needed to find out if it was causing some of the problems I have playing the instrument. So I invested about $100 and 4 hours driving time to have a new one fitted by the nearest shop that could do it. In the meantime, I invested significant time and very little money in learning about bridges and making my own, even to cutting down the tree (about 4 years ago). When I got the violin back from the shop, I was not very happy with it for reasons discussed elsewhere so I got serious about making one from scratch that I was happy with and that is the Genesis of JS91, this thread. The reality is that I can not tell much if any difference between the original, the professional and JS91, either in how they play or sound to me or my wife. Actually, there is some difference in how they play but it just takes a bit of retraining and then the difference fades away. Not sure what if anything I will do with this anecdotal info but there it is. Actually, what I did was to put the $100 one back in simply because it cost $100 and that makes my wife happy. However, I am thinking now that JS91 is a bit easier to play and will probably put it back again. I may go on doing this every week or so until I find a new hobby. Jack
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