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Don Noon

Don Noon's bench

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1 hour ago, Andreas Preuss said:

Any reason why you make the heart of the bridge so pointed? (Just curious.) Or just  a habit?

It's not; only the lighting and shadows make it look that way.  My current habit:

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1 hour ago, Michael Jennings said:

Still curious who the "ghost" in the upper base side bout of the back of the new fiddle is?

Face-on-Mars.jpg

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Progress this month has been pretty good (compared to my normal termite pace).  #25 was set up, as posted previously; purfling grooves cut and purfling installed on 3 backs; 1 violin back finish graduated and glued onto garland; viola back near done, with final inside scraping to go; the remaining violin back will be shelved for now, so I can get the other two done for VSA; violin and viola necks prepared and bandsawed out.  The viola neck has a scroll splice, from some I prepared a couple of years ago.

As usual, I am trying a new ground/varnish system and sequence, with the ground being applied very early, to be mostly  scraped off and re-applied just before final varnishing.  Should keep things cleaner, I hope.

Violin back appears to be in a decent zone, at 106 g and taptones of 113/167/359 Hz.  The viola back, being exceptionally low density (.49), is currently at 125 g and 121/172/357 Hz.  These probably are closer to violin datapoints than a 16" viola, but since this viola is intended to be an extreme soloist instrument, maybe that's a good thing.  The top will be even more interesting, with RR=19+ spruce, a real outlier.

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41 minutes ago, Michael Szyper said:

The one piece violin back looks pretty stunning, could you share another picture?

Things are just in-process, and don't look all that great, so I only wanted to post a photo of the general status.

You'll just have to wait another month or two until the varnish gets going, and then I'll post some more details when it looks better. :)

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19 hours ago, Don Noon said:

Progress this month has been pretty good (compared to my normal termite pace).  #25 was set up, as posted previously; purfling grooves cut and purfling installed on 3 backs; 1 violin back finish graduated and glued onto garland; viola back near done, with final inside scraping to go; the remaining violin back will be shelved for now, so I can get the other two done for VSA; violin and viola necks prepared and bandsawed out.  The viola neck has a scroll splice, from some I prepared a couple of years ago.

As usual, I am trying a new ground/varnish system and sequence, with the ground being applied very early, to be mostly  scraped off and re-applied just before final varnishing.  Should keep things cleaner, I hope.

Violin back appears to be in a decent zone, at 106 g and taptones of 113/167/359 Hz.  The viola back, being exceptionally low density (.49), is currently at 125 g and 121/172/357 Hz.  These probably are closer to violin datapoints than a 16" viola, but since this viola is intended to be an extreme soloist instrument, maybe that's a good thing.  The top will be even more interesting, with RR=19+ spruce, a real outlier.

 

Hi Don, Have you found that RR correlates predictably with some attribute either tonally or in playing characteristics?

-Jim

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3 hours ago, Jim Bress said:

Hi Don, Have you found that RR correlates predictably with some attribute either tonally or in playing characteristics?

-Jim

High RR wood leads to light plates (for a given bending frequency), which then gives quick response and a "big" (not necessarily "good") sound.  On violins, I think there is definitely a limit to where light plates work... too twitchy, and a tonal bias toward the middle and lower frequencies.  That's why I'm using it on a viola, where middle and lower frequencies are what you want, and faster response might be good too.  Other viola makers too have mentioned a benefit to lower density (usually higher RR) wood.

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Dear Don

Impressive job, your #25 looks and sounds great. It could be many violinists desire. Can't stop listen to it.

Will keep my fingers crossed for your #26-7(?) at VSA.

Regards

JM

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7 minutes ago, Don Noon said:

Sam Zygmuntowicz was in the area, and stopped by for a nice visit for a few hours.  

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What a nice picture! Two of the very important violin making brains united!

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Super cool! :D

Hope you had fun!

Did the two of you manage to solve any of the global violin issues? ^_^

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1 hour ago, Rue said:

Did the two of you manage to solve any of the global violin issues? ^_^

First summit meeting is only to plan the second one, and to learn how to pronounce names.

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51 minutes ago, Bill Merkel said:

First summit meeting is only to plan the second one, and to learn how to pronounce names.

Noon: is like; Tune, Loon, Boon, Soon.......... The other one is too easy to need explanation ^_^

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16 hours ago, Rue said:

Super cool! :D

Hope you had fun!

Did the two of you manage to solve any of the global violin issues? ^_^

Two violin nerds talking about violins is like pigs in slop.  Great fun.

As usual in all of violin discussions, nothing is solved, but we come up with more interesting questions.

6 hours ago, thirteenthsteph said:

Please post a clip of the viola too when it's ready!

Definitely, if at all possible.  Good thing:  Annelle Gregory also plays viola.

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The Big Cannon is starting to look like something (40cm viola, inspired by  Cannone).  

It wasn't until I cut the outline that I had some offcuts to check crossgrain stiffness of the spruce, and it turned out to be extremely low.  I'm thinking that if a tree makes exceptionally  stiff wood along the grain, it has to take away  from the crossgrain and/or tangential stiffness... and this was very abnormal spruce, with RR = 19+   Taptones generally followed, with M2 much lower than my previous viola, and M5 just a bit lower.  I went lighter on this one, so slightly  lower taptones would be expected.

Signature modes at this point can be measured, and don't seem to change a whole lot in the end.  The A0 is up around C in this one, intentionally so with a slightly smaller volume than my previous viola, and very large F holes.  It should give the open C string some more power.  The other signature modes (CBR, B1-, B1+) are all lower, especially the CBR.  I have no idea how that will end up working, but I thought the previous one was a bit stiff and bright sounding.  This one too may be fairly bright: I played some violin music through the body  with a voice coil driver, and it sounded like a violin (mostly).  Unfortunately, I don't have viola music to play through it.

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On 8/17/2018 at 4:33 PM, Don Noon said:

Sam Zygmuntowicz was in the area, and stopped by for a nice visit for a few hours.  

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This is where hypnosis would come in handy! "Sam tell me about your ground and varnish secrets"...

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Progress for the month:  viola top carved, glued, and varnished.   Only top is varnished, and the edges and corners not finished. The rest will be varnished after setting the neck (trying out another assembly/finish sequence).  Scroll is almost done roughing out,  then will need detailing.  Before you ask:  the maple pads on the top are to protect the ultra-low density spruce.  There's also a post pad on the inside.

I'm hopeful that this will be done to test as a tone-only entry at VMAAI, and then I'm hopeful I can finish a violin (and this viola) for VSA.  At some point, I'll probably have to ramp up my workday from the current ~2 hrs (or less).  I'm a little bit slow when I work, but the main problem is low benchtime.

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10 minutes ago, Don Noon said:

  At some point, I'll probably have to ramp up my workday from the current ~2 hrs (or less).  I'm a little bit slow when I work, but the main problem is low benchtime.

What can help, after you work it into your system, is to check out the solunarforecast.com major and minor time periods for your zip code.  Have the work you'd like to do for the day ready beforehand and go to work - times flies.  During the off times just do your best.

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3 hours ago, Don Noon said:

Progress for the month:  viola top carved, glued, and varnished. 

The white of the purfling comes though rather starkly.  Brushing a water-based stain after gluing would make it less conspicuous.

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7 hours ago, Don Noon said:

Before you ask:  the maple pads on the top are to protect the ultra-low density spruce.  There's also a post pad on the inside.

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I have seen such pads on Schleske violins some years ago, but made of black wood, probably ebony. I don´t think to protect a low-density-wood, rather to get mass under the bridge-feets for acoustical reasons. If I remember right, Schleske goes on to do so, but now the pads are inside.

B.t.w. Is it allowed to make del-Gesú-f-holes on violas ?

 

 

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13 minutes ago, Danube Fiddler said:

B.t.w. Is it allowed to make del-Gesú-f-holes on violas ?

If Marty K. hasn't been executed yet for his work, I'm not worried about a visit from the viola police.

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