Oded Kishony

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About Oded Kishony

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    genralissimo

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    http://kishonyviolins.com

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    Male
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    Central Virginia, USA

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  1. Oded Kishony

    Top plate dilemma

    Can you remove some wood from the perimeter? I would just try it in the white and see how it sounds.
  2. Oded Kishony

    Who do retouch thicknesses from outside ?

    Seems to me that the writer is a very inexperienced player/maker who is very ernest but has not thought through his ideas. He is mostly 'shooting from the hip' . I considered replying to this post but got tired just trying to sort out all the misconceptions. To point out just one: every violin has a unique voice, just like a finger print. That is because every piece of wood is unique. If you try to 'normalize' the wood I think you would discover that the result would be a supremely boring instrument. Oded
  3. Oded Kishony

    The ground ( sealing) of the great masters - which was it ?

    One photo that has made an impression on me is an endoscope image of the interior of the Del Geu Cannone. it shows drip marks from the F holes of a thin colored liquid which I’m assuming is from Del Gesu’s hand. https://www.google.com/search?q=il+cannone+endoscope&rlz=1C9BKJA_enUS786US787&oq=il+cannone+endoscope&aqs=chrome..69i57.15392j1j4&hl=en-US&sourceid=chrome-mobile&ie=UTF-8#imgrc=YMAJkdCLqJ0QRM: oded
  4. Oded Kishony

    Alternatives to e string parchment

    The tubes work ok but if they overhang into the bowed area they tend to dampen the string (somethimes that's a good thing ;-) so I keep the edge of the tube at the same plane as the front of the bridge so that none of the tube overhangs into the bowed area. Oded
  5. Oded Kishony

    Alternatives to e string parchment

    Super glue lasts a very long time on the A, D & G less so on the E. But you can re-apply as often as you like. The Tyvek seems to have a minimal effect on the sound IMHO. Oded
  6. Oded Kishony

    Alternatives to e string parchment

    I roll the top of the bridge over a drop of thin CA (Krazyglue) glue. Let it set for a minute then roll over a paper towel. I also use archival grade Tyvek glued to the bridge under the E string.
  7. Oded Kishony

    Elusive lining clamp source

    Not sure the designation other than 'heavy duty'. I cut the rings on the band saw using a stop to get uniformity, then I just lay the rings flat and cut them open. No need for any special kerf etc. Keep it simple.
  8. Oded Kishony

    Elusive lining clamp source

    I've been using these simple clamps, which I call 'calamari clamps' for some years, they have served me well. They are very easy and inexpensive to make. Use heavy duty 1inch or 1.3 inch PVC plumbing. Oded
  9. Oded Kishony

    Working with pigments

    there is an historic method for cleaning out the debris from lapis lazuli https://www.naturalpigments.com/art-supply-education/cat/natural-pigments-supplies/post/natural-ultramarine-lazurite-purify/
  10. Oded Kishony

    A fantastic new machine

    Anyone familiar with this machine? https://www.amazon.com/Cutech-40160H-CT-Spiral-Cutterhead-Jointer/dp/B011QMJBG4/ref=sr_1_5?s=hi&ie=UTF8&qid=1526912428&sr=1-5&keywords=jointer+planer+combo&dpID=41YJT6z2gzL&preST=_SX300_QL70_&dpSrc=srch
  11. Oded Kishony

    A fantastic new machine

    Anyone remember the INCA line of power tools, They made a great joiner/planer and a lovely three wheel band saw.
  12. Oded Kishony

    Who do retouch thicknesses from outside ?

    Another aspect no one has mentioned yet it the unique character of Italian culture. Italians have a distinctive approach and appreciation of craft and art, richly expressed in the instruments created by the great Cremonese makers. oded
  13. Oded Kishony

    Who do retouch thicknesses from outside ?

    I agree that Strad and Co. probably didn't have any 'mythical ideals', however, I don't doubt that the competition to make the best sounding instrument on the block was fierce. As to your second point, it's been my experience at the Oberlin maker's workshop as well as the restoration and acoustics workshops that there is an 'underground' of techniques that some makers keep mostly to themselves or share within a very limited circle of friends. I don't know of anyone who is striving to recreate a Strad sound per se, but neither do I know of any maker who would pass up an opportunity to improve the sound of their instrument. As far as trying to shed our modern mindset- I suspect that's a lost cause, we are all products of our times. OTOH I do think it's useful to try to imagine what it was like and try to stay close to the way they did things as best we can. One thing that I like to do is work in total quiet-no background music or sounds. I live in the woods so it's not too difficult, but I will turn off all machinery (such as a/c etc) while I'm doing certain parts of the carving so I can listen to the gouge slicing through the wood, or the plane sing as it dances across the plate. I have found using the reciprocity method that I mostly prefer not using a computer, just using the vibrating string response, unless I'm running into a specific problem where I want a be able to see a bigger acoustical picture. When I first met Oliver Rogers and presented this notion of the relationship between the string and the surface of an instrument, his response was that this was the first time he had heard of an approach that was both scientifically grounded and historically plausible. Oded
  14. Oded Kishony

    Who do retouch thicknesses from outside ?

    Ideally, this process would be integrated right into the flow of making an instrument. I normally use it to enhance certain properties or to eliminate any problems. I don't think it's useful for issues of wolf notes, at least I haven't found a way of eliminating wolf notes by using this method. But to answer your question more directly, if I've decided the instrument needed tonal work, I have spent as little as 45 minutes to several hours over the course of some days to let things settle or to take the time to figure out what I want to do next. BTW there is a parallel system that uses a spectrum analyzer to guide the removal of wood. If you run a spectrum analyzer on 'continuous' or 'live' mode with a 'peak hold' feature you can clearly see the effect of removing wood while you're doing it. The peaks rise in amplitude and as you're removing wood, you can observe as different regions of the spectrum start to respond or reduce their response. I prefer using the strings for feedback because I believe it gives a more realistic picture of the tonal effect but the spectrum analyzer gives a far more detailed and broader view of what is going on. Oded
  15. Oded Kishony

    Who do retouch thicknesses from outside ?

    This is a good resource if you want to gain insight into nodal lines on assembled violin. http://www.schleske.de/fileadmin/user_upload/doc/CAS_Tonal_Copies.pdf One of the things that Martin Scleske emphasizes is that the nodal lines of each instrument are like a finger print-no two are identical. Oded