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Dr. Mark

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About Dr. Mark

  • Birthday 02/15/1951

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  • Location
    Trenton NJ
  • Interests
    Violins of course.

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  1. I'll take that - beats admitting that I lack the knowledge and skill. Along with wabi sabi there's something about a bold, original design and new, perhaps unexplored, tonal and playing qualities. On a less serious note - once I'm allowed to retire... eight bits: https://www.flickr.com/photos/ranjit/12396601314/in/set-72157640401185814/Fugit irreparabile tempus.
  2. Bitbow digital pernambuco using blockchain. Every log and stick identified and represented as a bitbow digital asset so every transaction is registered everywhere in the bitbow community. Details to be worked out. First one in gets rich. Thank you.
  3. Went to Yuval Noah Harari websight. Looked up Wiki entry. Read some quotes....: Yawn. No. Back to violins.
  4. I was browsing the public literature - at first glance I didn't see anything in the way of reference level or microphone broadband response reported. I guess at acoustic frequencies we take it for granted that mic response is flat to 20k, and everyone uses the same reference level? I think in general we'd want to subtract out the specific transfer functions prior to making comparisons...I guess there's this: https://josephcurtinstudios.com/wp-content/uploads/2017/06/8-Vieuxtemps.pdf. I'm havw a concern relating the reported amplitude to the above chart's intensity, which should be square amplitude - it's been too long since I've done this stuff so I may mess something up - I guess 'amplitude' in the article is 20*log(A/Aref) and 'Intensity' in the above chart is 10*log(P/Pref) - if that's the case and the reference values are the same and the mikes are flat, we can get an idea of what may be generally audible at frequency. Interesting stuff...
  5. Could be, but it seems an unlikely coincidence that such scoring would occur right along the winter wood.
  6. What do you mean by 'God'? Ooopsy - my bad. Moving on... Why not? Lack of an objective standard (see God comment above)? I spent a lot of time writing a reply to this before I went numb and gave up.
  7. Lol I can't read with comprehension what I wrote.
  8. There seems to be a third 'crack' visible particularly in the lower photo. I would bet one of Doug's embarrassed 'Oops' on cracks. I'd also bet that the outside crack formed first, then when some of the stress was relieved the crack stopped growing and the stress was transferred to the next grain over. I would also guess that the very end of the bridge foot is slightly mis-fit so exerted little pressure until the outside crack formed. The third is shorter because there's never any direct pressure on it by the foot of the bridge. Or - I could be entirely wrong. It's a good story though, he says hopefully.
  9. In a sheet full of A's it's fairly easy to pick out a B if you know (and care) to look for it (I should add - and you're able to discern the difference between the two). Ceteris paribis regarding physical capability, I tend to think that it's a learned expectation of the inconsequential that causes us to skip over things when presented in a familiar context. Just an alternative to computer-centric interpretations of the interface of intelligence with it's environment.
  10. So after measuring a violin's sound intensity vs frequency (disregarding distance for the present), translating to relative loudness at frequency may be more directly informative for comparison purposes...?
  11. Sorry for the long delay - at my age I'm easily distracted. My above reply was intended as sympathetic humor rather than a serious admonition. In reply to your question above - I'm sorry but I have no idea how to respond to your request. My interest in post-mortem examination of classical violin varnish goes no further than general characteristics, and after a brief brush with plate tuning I pretty much passed on it in favor of other construction principles. I rely more on Occam's razor - the simplest of the techniques used by successful professional makers, or if I can't get that information then the simplest technique I can come up with that gives me something at least superficially similar. Plate tuning isn't part of that, and exotic varnish formulas aren't part of that. I also tend to work with what I have at hand and admittedly I've had inconsistent success with both varnish and tone. And in case the question arises, I'm not in the class of most posters on this forum, but I do make violins. The top two photos are a large model from 2013 and the lower two a smaller model from 2021 (first time posting photos - hope this works....)
  12. Really gorgeous. The thought crossed my mind that real wear could mar that beautiful finish lol. I didn't realize I was so perverse until now -
  13. This could provoke an interesting and inconclusive discussion - are you the real Wood Butcher?
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