Oded Kishony

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About Oded Kishony

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    http://kishonyviolins.com

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    Central Virginia, USA

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  1. Oded Kishony

    William Fry Internal Scraping Method

    The deleted section was a discussion of the effect of aging on the instrument, the possibility that playing an instrument over a long time period enhances and increases the amplitude of the harmonics. OK
  2. Oded Kishony

    William Fry Internal Scraping Method

    I would like to add my two pennies to this discussion. Scraping or removing wood from the surface of the instrument in some random way, even if it is an 'educated' guess, and hoping for a positive outcome is like putting your elbows on a piano keyboard and expecting to hear a Bach fugue-not likely. The timbre of an instrument or a string is dependent on the harmonic structure of the sound, the brain re-arranges the sound to produce the timbre. A well-documented example of this is that the violin produces a very weak signal at 196 Hz (open G string) the listener assembles the harmonics which produce the effect of 'open G' ie 196Hz. If some component of the harmonic structure is missing or is weak the character of the sound (timbre) will change. If, for instance the higher harmonics are missing the sound may seem to be dull. If on the other hand, lower harmonics are weak but higher ones have a greater amplitude the sound may seem to be harsh or too bright. Even though we talk about discreet modes, the modes (areas of vibrations) don't function separately under playing conditions. When an instrument is played, any frequency generated by the strings or bow that 'finds' a friendly spot on the surface of the instrument will be amplified. However, most of the vibrations on the surface do not get projected into the far field (apx 3ft) because of 'phase cancelation', which works the same way as sound canceling headphones (see google for details). When any given area of the violin is thinned it will affect a great many frequencies at the same time, so selecting where to thin is tricky and in my experience often requires some compromises. For instance, if I have a too bright G string I may tap the surface until I hear a clear G fundamental vibrating, then while scraping that area I listen for changes because as you scrape, the tonal landscape is changing under your scraper. I often find myself 'chasing' a note or harmonic around the surface. In addition, you should keep in mind that on a violin, all frequencies below ~ 1kHz are produced by the whole corpus, which is why scraping the ribs can produce dramatic changes in the sound (see caveat above re psychoacoustics). If you are computer fluent you can explore this by sampling the surface of an instrument with a simple computer mic or a contact mic. just tap the surface of the instrument with the microphone while running an FFT spectrum analyzer on 'continuous' with 'peak hold'. You will see the frequency spectra are completely unique for any spot on the instrument. (dampen the strings) What I find exciting is this can be done without using a computer, because the information embedded on the surface is transferred to the strings, when the surface is tapped or being scraped. You can hear when you're thinning an area that affects the harmonic of the string because the string starts to vibrate at that harmonic frequency. Oded Kishony PS entire sections of material that I've written seem to erase automatically when I post here. Am I doing something wrong or is there a glitch in this program? Never had this issue before on Maestronet.
  3. 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.
  4. 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
  5. 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
  6. 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
  7. 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
  8. 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.
  9. 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.
  10. 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
  11. 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/
  12. 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
  13. 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.
  14. 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
  15. 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