Michael Appleman Posted October 19, 2014 Report Share Posted October 19, 2014 The exchange about the narrow waist/less satisfying sound has been interesting. As Ben Conover pointed out, Bergonzi waists aren't all that narrow. Looking at the exhibition book, the range is from 102,3-108 with most coming out around 106, taken with a caliper, so that's pretty much 112-118 over the arch. The interesting thing about the outline is the "kink" at the corner blocks, the way the purfling doesn't flow through the corner but kinks further in at the center bout than a Strad or certainly a Del Gesu would. Personally, I've always felt that mechanically the area on the bass side of the top just above the f-hole is critical to a violin's sound. The small area of wood between the bass bar and the edge, as the violin gets wider before hitting the corner and widening dramatically, seems to me to have the most important role in impeding or allowing the bass bar to "do its job." The area tends to have a compound curve by nature, and the outline here can affect the radii dramatically, thus making it more or less stiff in a drastic way. A "kink" at the upper corner would seem to me to alter the mechanical way the plate works, and would need quite different treatment in terms of blending the channel and thicknessing compared to a Del Gesu (or even a Strad) upper corner. Modelling in my cloudy brain, I'd think lower and wider spaced f-holes would work better with the "kink," leaving a longer patch of "simple radius" arching between the f'hole and the corner. F-holes placed higher (normal stop) might "tighten-up" the area. Sorry if this is boring. Quote Link to comment Share on other sites More sharing options...
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