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Alex l. Reza

Alex Reza's bench

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The varnish always look extremely impressive, very, very nice job. Your violins inspire me to possibly start making, and I hope you continue this great work for many more years.

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The varnish always look extremely impressive, very, very nice job. Your violins inspire me to possibly start making, and I hope you continue this great work for many more years.

Thank you very much for you kind words.  I have been inspired by many of the people here and have been fortunate in the players, makers, and researchers  who I have met and the resources they have so kindly shared.  I am sent back to the drawing board many times and continue to strive and work to achieve the best that I can do.

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Thank you so much! Now time for a Guarneri quartet.

Awesome! Which models will you be basing the quartet on? Thanks for sharing your pictures.

-Jim

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Awesome! Which models will you be basing the quartet on? Thanks for sharing your pictures.

-Jim

This is what I will be working towards. Based on the following. 1731 cello Joseph Guarnerius filius, 1676 Conte Vitale viola Andrea Guarneri, 1737 and 1742 del gesu violins. Maple from same tree, spruce is Italian alpine for violins, Sitka for viola, englemann for the cello.  I am open to any advice, help, etc!!!   :D 

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Are you going to make the viola and cello molds first or make to the two violins first and work on the molds while glue is drying?  You could try the 1800's Craske method of making- just sleep when the glue needs to dry. 

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This is what I will be working towards. Based on the following. 1731 cello Joseph Guarnerius filius, 1676 Conte Vitale viola Andrea Guarneri, 1737 and 1742 del gesu violins. Maple from same tree, spruce is Italian alpine for violins, Sitka for viola, englemann for the cello.  I am open to any advice, help, etc!!!   :D[/size] [/size]

Interesting and exciting. The backs will help the quartet look like siblings. Do you have a sound profile that your aiming for with the violins? In other words, will you be aiming for a level of similarity or dissimilarity? I find the dynamics of quartets fascinating and I'm curious if you have any plans/goals on how these instruments will work together. Sorry, no advise just questions. Hopefully you'll have time to take pictures during the build.

-Jim

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I will be trying for a level of "dissmilarity" for the violins, contrasting but complimentary with each other.  I have a couple of quartets here in town that I will have play them when they are ready and will make adjustments based on their input.  I have violin and viola molds and templates finished and ready, getting cello plans and will be working on a cello mold in the next couple of days.  I do have to cook some more varnish!  Luckily the weather is nice now and can get that done.   

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Well, here is a clip of the violin I took to Oberlin Acoustics workshop and had tested and worked on.  Put in a different bass bar, did some regraduating the numbers still did not make sense?!?!   For what its worth, here are the body modes that were measured,M5 305  M2 135 M1 85, it was tested several times. The top plate modes stayed pretty much the same.  Attached is a recording made yesterday.  Large room, wood floors, high ceiling.  Recorded with my laptop Yeti blue mic.

Reza2015cantible.mp3

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Spectacular yet subtle antique finish. The wood is still the star of the violin, not some bit player to wear patterns. You have found a great balance between "new finish" and "antique patina".

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For what its worth, here are the body modes that were measured,M5 305  M2 135 M1 85, it was tested several times. 

 

Those look like plate taptones, not body modes.  Presumably without the bass bar?  What was the top plate weight?

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Sound sample of my latest, strung up in the white and this is first time being played.  The modes made no sense for the top, worked initially to numbers mode 5 approx 350 mode 2 170 range at those numbers the  top was 82 grams way too thick and stiff, so just tuned the old fashioned way by touch and ear.

Top without ff mode 5 251. Mode 2 117  64.7 grams upper bout between 2.2-2.5, lower bouts the same. C bouts 3.7.  After ff mode 5 228, mode 2 113 at 63 grams.  Top is 40 year old sitka the back is 50 plus year old wood.

Back mode 5 356, mode 2 161, 108.3 grams. Upper bouts average 2.5 lower same, c bouts 5 thickest. Big del gesu model total set up 433 grams. The recording was made with laptop and Yeti mic.  Sorry for the blurry pics, now on to finishing edgework on corners, ground and then varnish before he heads home!!

Hi Don, this was the top plate that did not make sense on the numbers. Was measured by Curtain several times. I will look for the spectrum and post later. Top plate ended up at 73.4 with bass bar and varnish. Stoppani tested single plate and came up with basically the same numbers that I had come up with during the build. They all stated it should not sound as good as it does looking at the numbers. Go figure!?

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Looking back through this thread, I see this top has been off the bottom of the charts as far as M5 top frequency goes.  I also see a low arch (15mm) and thick C bout (3.7?) that could skew the frequency downward.  Is that 3.7mm for the area under the bridge too, or just around the F holes?

 

I also see you mention having more of that Sitka log.  If you can bring a sample of it (bass bar, wedge, or something straight) to VMAAI, I'd like to see what properties it has.  Unless you already took those measurements.

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Looking back through this thread, I see this top has been off the bottom of the charts as far as M5 top frequency goes.  I also see a low arch (15mm) and thick C bout (3.7?) that could skew the frequency downward.  Is that 3.7mm for the area under the bridge too, or just around the F holes?

 

I also see you mention having more of that Sitka log.  If you can bring a sample of it (bass bar, wedge, or something straight) to VMAAI, I'd like to see what properties it has.  Unless you already took those measurements.

Hi Don,

     The 3.7 is for the bridge/table area of the top plate.  I will bring the violin and the wood I used for the top to VMAAI.   I would be very interested to see what you come up with :)

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That is nicely subtle!

Where are the tailpiece and chinrest from?

I dug those up at work.  I like using fittings (recycle :) ) that I find which are from older instruments and have been left there.  

 

Spectacular yet subtle antique finish. The wood is still the star of the violin, not some bit player to wear patterns. You have found a great balance between "new finish" and "antique patina".

Thank you very much,  I like a straight varnish and sometimes for added character subtle wear. I try to make my varnish as transparent as possible and let the wood's features show through.  Thank you again for the comment.

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Been a while, time flies when busy!  This is my latest, the clip has permission from the player and the person who filmed to post, thank you very much to them. Sorry about the poor picture quality, did not have camera ready so just cell phone pics right now.  

 

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Thought I would post some pictures showing progression from white to the final sealing of the ground before varnish, the process takes a couple of days.  This is a one piece top and one piece slab cut back 

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WOW, time flies!!   For fun, this is my latest violin, having fun with different figured spruce and pics with different lighting trying to get close to the in person color of varnish  :)

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