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Showing results for tags 'break-in'.
Since hearing about the Betts project at Oberlin I have wondered about the benefits of carving arching deformation into the arching. I wonder if the asymmetry caused by natural deformation of the arch over time is part of the 'broken in' sound. My understanding is that the cnc model was an exact copy from the CT scans and did not correct for deformation. My first thought was that you would have more run out around the soundpost area because it would be deformed upward, and the section of the top that would normally have less runout would be fundamentally different. Perhaps this makes little to no difference, however, my next thought was that you could do an arching correction and produce a top and back with the corrected arch, then have a counter form of the exact arch. If you broke in the instrument for a certain period of time (6 - 12 months?), then tested it before pressing the arch in the counter form you could hear something of the difference between the arch pre and post deformation. Perhaps this could even be done by a large number of Oberlin attendees and do the test, arch press, and retest at Oberlin as a crowd sourced project. It wouldn't solve the question of whether to carve some deformation into the top from the start, but I think it would be interesting. Any thoughts on this?
I would like to ask what is happening, scientifically, when "playing in" a violin. I have recently been given an old violin which had sat in a drawer for over 20 years, unplayed. Initially it sounded nasal and tight. I have been gradually breaking it in using various techniques, as follows - 1. Extensive use of scales in double stops, emphasising 4ths, 5ths, 8-ves. 2. Use of thirds, sixths, tenths, to generate "Tartini tones", also using minor 2nd and major 7ths to induce vibrational "pulsing" 3. Single note chromatic scales, using slow bows, playing as close to the bridge as possible, with as much bow pressure as possible. 4. Normal playing of regular repertoire, hours daily. Since beginning this process a few days ago, I have noticed a distinct "opening up" of the sound. Several notes already "ring" better. This is anecdotal, however; I'm curious to know what is happening on a cellular level, and why. --Are there micro-stresses or fractures happening in the wood? Creep? Settling in under newly strung setup? --Are the vibrations generating heat within the wood cells resulting in change? --Is breath generating a sort of mini humidity cycling? Thanks for any insights.