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Instrument Acupuncture


hk1997
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I believe so, true.I can hear the difference.

The diagnostics he applies is very interesting and creative indeed.

I worked on a kind of Acupuncture map, still working, but mine is based on mass removal.

This is interestingly, no mass removal, may be just a slight disturbance in mass distribution uniformity.

Very informative, thanks for sharing.

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Recently someone made reference to an experiment from a maestroneter (maybe it was Anders or Don?) who used a scalpel blade to cut between the grain on the top plate to reduce cross stiffness without changing the mass, then recorded the differences in tap tone. then someone posted this picture of a Stradivarius (?) plate with lots of tiny graduation holes probably the result of a too strong use of the punching machine)

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It's fantasy...

Fergie I hate to differ, but the word is not "fantasy". It is "fanaticism", better described in two words; "bull shit". Sorry no, three words; "Dangerous bull shit." I would hate to see this happen if this is done to a beautiful antique violin. How on earth does this stuff manage to seed itself and grow?

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Fergie I hate to differ, but the word is not "fantasy". It is "fanaticism", better described in two words; "bull shit". Sorry no, three words; "Dangerous bull shit." I would hate to see this happen if this is done to a beautiful antique violin. How on earth does this stuff manage to seed itself and grow?

If this was facebook I would 'like' this comment to death!

I think that ideas like this grab hold because some people refuse to believe that their instruments can't sound any better than they sound and maybe that someone with some hair-brained scheme has hit on THE thing which will make the world of difference.

These people tend to have friends similar to themselves so through word of mouth a following is built up and before you know it, even the guy/gal whos' idea it is starts to believe it through the reinforcement of the fact that so many folks want him/her to poke holes in their prized fiddle.

Just a thought.

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Fergie I hate to differ, but the word is not "fantasy". It is "fanaticism", better described in two words; "bull shit". Sorry no, three words; "Dangerous bull shit." I would hate to see this happen if this is done to a beautiful antique violin. How on earth does this stuff manage to seed itself and grow?

Some people are really stupid.

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How on earth does this stuff manage to seed itself and grow?

A need to be special

A need to be right

A lack of objectivity (to maintain an illusion of the first two)

I don't think it's necessarily stupidity, but the smarter one is, the more sophisticated the self-deception tends to be. Anyone recall "cold fusion"? Same thing.

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Here I thought the pin pricks on the Strad were layout marks :lol: ...silly me . Interesting how the idea came out of thin air, from looking at pictures....I wonder if air temperature might have more to do with what he's saying as opposed to density?

Point 1 Seriously from what the guitar simulation "shows" a pinprick will stop the vibrations in a fan pattern ????Not even a wrap around effect? utterly made up. where's the laser teck?

Point 2 There are two camera angles of the cello being played,This would have a large effect on sound recorded regardless of where the mic was set, especially if the mic was camera mounted ...I did hear a tonal difference, But I hear a tonal difference in an old stereo at 60 MPH in my old truck ,just because someone moves a leg.

Point 3 I see the impact hammer was hand held and might generate differing graphs,

point 4 the chin rest.... Mass, I understand and makes perfect sense ..... but in playing the rest is so fully damped I don't think it represents an acoustic surface per say....

I do like how he scrapes the edges ff's when inserting the drill. maybe that small bit of rounding there is the real key.

I'm inclined to thing this idea will need more support from a broader acoustic community in order to have real merit.... next stop should be Oberlan for scrutiny....and or a phycoacoustic test or two...or three.

I know, I'm an utter newbee with violins and probably just full of HOT AIR... B)

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May be the fundamental question that needs to be asked is, what should be the approach to violin and it's making.

Is violin just an other object of which functions are governed by law of physics, which can be dissected,experimented

Or beyond being an object, some thing with some divine attributes, untouchable, unthinkable.

Traditions can still be preserved, and should be, however, I prefer to be free of any constraints when trying to understand it.

It is not easy to create a controlled environment for violin, may be the biggest challenge..

This may be a hoax not sure, but of course there is a way to understand it, experimentation with objective evaluation.

No doubt, there are more ways than one to change the sound of a violin.

The change may not be permanent depending on how good the fundamentals are, such as wood, arching, graduation etc.

Frustrations are possible, ..

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Do you know Ralf?

Yes, although not well. When I worked in Bremen, he was working for Schnoor in Hamburg. He also visited me once in Krems during his bicycle tour from the source to the estuary of the Danube, with a (surely ex) girl-friend, who appeared to be on the verge of running amok.

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Yes, although not well. When I worked in Bremen, he was working for Schnoor in Hamburg. He also visited me once in Krems during his bicycle tour from the source to the estuary of the Danube, with a (surely ex) girl-friend, who appeared to be on the verge of running amok.

Is he a good maker? Do you think he is serious about acupuncture? The video mentions that he pulled this idea "out of thin air". I just wonder what his credentials are, and who his clients are. Curiouser and curiouser.

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Is he a good maker? Do you think he is serious about acupuncture? The video mentions that he pulled this idea "out of thin air". I just wonder what his credentials are, and who his clients are. Curiouser and curiouser.

He is certainly a perfectly good violin maker: He learnt in Mittenwald 77/81 and worked for Schnorr in Hamburg, which was an excellent shop. I first met him there when I visited looking for a job (to escape Machold’s) in the mid-80’s. At the time he was busy preparing himself for his “Meisterprüfung”. Later he moved south to some mountain between Freiburg and Basel, where there is defiantly plenty of “thin air”

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