Polk Posted September 8, 2016 Report Share Posted September 8, 2016 On You Tube there is a video of a fellow applying sealer to the inside of a violin top. It's here... I noticed the rather weird angle of the bass bar, which seems to angle across both sides of the top plate rather then in a traditional position. is there any advantage to this placement? Why was it done? Thanks! Quote Link to comment Share on other sites More sharing options...
Colleen McTigue Posted September 8, 2016 Report Share Posted September 8, 2016 Not only that, but why is he applying a sealer to the INSIDE surface of the plate?? I don't have a lot of experience, but I've read a lot, and I've never seen that suggested. Quote Link to comment Share on other sites More sharing options...
franciscus Posted September 8, 2016 Report Share Posted September 8, 2016 Look at violinresearch.com. Quote Link to comment Share on other sites More sharing options...
Don Noon Posted September 8, 2016 Report Share Posted September 8, 2016 Yep, and particularly note the method of tuning the endpin: Quote Link to comment Share on other sites More sharing options...
Addie Posted September 8, 2016 Report Share Posted September 8, 2016 Yep, and particularly note the method of tuning the endpin: Great for improving hand-eye coordination... Quote Link to comment Share on other sites More sharing options...
Davide Sora Posted September 8, 2016 Report Share Posted September 8, 2016 Not to mention the sounpost tuning..... However, I must admit that this guy has a lot of imagination and inventiveness. Quote Link to comment Share on other sites More sharing options...
Addie Posted September 8, 2016 Report Share Posted September 8, 2016 This one has a normally positioned bar, anyway... Quote Link to comment Share on other sites More sharing options...
Polk Posted September 9, 2016 Author Report Share Posted September 9, 2016 Hummm...seems like a rather high bar in that one. Of course I always tune my end pins to Bb and posts to A -b. But seriously...was there ever a school of thought that the bar should extend across into the treble side of the upper bout?? How would this effect the sound, or...would it? Quote Link to comment Share on other sites More sharing options...
Michael_Molnar Posted September 9, 2016 Report Share Posted September 9, 2016 This is David Langsather's video. He has a different idea on violin making. Check out his website. Quote Link to comment Share on other sites More sharing options...
Polk Posted September 9, 2016 Author Report Share Posted September 9, 2016 Checked it out. He seems to be saying that since the grain of the top plate was "angled", he angled the bar to match. Hummm, not sure that the logic works, but maybe he has something. Think I'll just look for straight grain tops. Interesting site though. Quote Link to comment Share on other sites More sharing options...
Addie Posted September 9, 2016 Report Share Posted September 9, 2016 "Progress for the sake of progress must be discouraged." Dolores Umbridge Quote Link to comment Share on other sites More sharing options...
Addie Posted September 9, 2016 Report Share Posted September 9, 2016 Not to mention the sounpost tuning..... However, I must admit that this guy has a lot of imagination and inventiveness. Wand: red cedar, with a graphite core. Eight inches, inflexible.Swish and flick: Anima anti-cacophonus! Quote Link to comment Share on other sites More sharing options...
Don Noon Posted September 9, 2016 Report Share Posted September 9, 2016 This one has a normally positioned bar, anyway... Yeah, but... Quote Link to comment Share on other sites More sharing options...
Stadiravius Posted September 9, 2016 Report Share Posted September 9, 2016 What did I just see ??? Quote Link to comment Share on other sites More sharing options...
Addie Posted September 9, 2016 Report Share Posted September 9, 2016 Yeah, but... funnyfiddle.jpg Which is why I said (Stink-eye smiley)Violins with that shape steer better than conventional fiddles on open water. And it takes a lot of talent to carve a scroll so it looks like it was chewed by a dog. Quote Link to comment Share on other sites More sharing options...
Addie Posted September 9, 2016 Report Share Posted September 9, 2016 What did I just see ??? Flush eyes with water for at least fifteen minutes, then seek medical attention. Quote Link to comment Share on other sites More sharing options...
Davide Sora Posted September 9, 2016 Report Share Posted September 9, 2016 Wand: red cedar, with a graphite core. Eight inches, inflexible. Swish and flick: Anima anti-cacophonus! Mmm.....graphite core......this may be a groundbreaking soundpost, I might think about putting on a revolutionary theory to lure some simple mind. You never stop learning.... Quote Link to comment Share on other sites More sharing options...
Jim Bress Posted September 9, 2016 Report Share Posted September 9, 2016 I might regret this post, I'm writing pre-coffee, did an all nighter, and my new workday is just starting. Anyway, since this thread started I've been pondering what drives certain individuals (general statement) to go through extraordinary efforts, sometimes in a Rube Goldberg fashion, to try and find an easier way to make a great fiddle. In fact, those who employ these tuning processes in there making seem to work harder at making a fiddle. I have no knowledge whether any of these methods work, but the question that I keep circling back to is whether or not any of these folks are also accomplished players. It all reminds me (in a very abstract way) of when I complained to my teacher that my hands (fingers to be specific) are too big to do the fingering being asked of me. My teacher's reply was to watch some videos of Itzhak Perlman playing. The following week I admitted to my teacher that the problem was not with the fingers but there operator. Ah, Coffees ready. Cheers, Jim Quote Link to comment Share on other sites More sharing options...
Don Noon Posted September 9, 2016 Report Share Posted September 9, 2016 I might regret this post, I'm writing pre-coffee, did an all nighter, and my new workday is just starting. Anyway, since this thread started I've been pondering what drives certain individuals (general statement) to go through extraordinary efforts, sometimes in a Rube Goldberg fashion, to try and find an easier way to make a great fiddle. In fact, those who employ these tuning processes in there making seem to work harder at making a fiddle. Even from my completely opposite condition (good night's sleep, never drink coffee, "workday" has no meaning), this seems like a good post. I too wonder what mindset drives these "certain individuals" to develop their ritualistic methods. The only think I can think of is that they start with a belief that there is an order to everything, often somewhat magical and numerically oriented, and there is no effort expended to prove if these beliefs are true or not. Seems to be a consistent syndrome. Quote Link to comment Share on other sites More sharing options...
Resophonic Posted September 9, 2016 Report Share Posted September 9, 2016 Mmm.....graphite core......this may be a groundbreaking soundpost, I might think about putting on a revolutionary theory to lure some simple mind. You never stop learning.... It's already been done, it's called a pencil. Quote Link to comment Share on other sites More sharing options...
Will L Posted September 9, 2016 Report Share Posted September 9, 2016 I have run across half a dozen of this type of maker. Usually they are very talented, IMO, but have some quirk which they can't shake off. I find it tragic more than anything else. Quote Link to comment Share on other sites More sharing options...
Addie Posted September 9, 2016 Report Share Posted September 9, 2016 I do think there is a tendency for some to over-indulge in superstition, belief in magic, ritual, numerology... We see it everywhere, every day. Quote Link to comment Share on other sites More sharing options...
Don Noon Posted September 9, 2016 Report Share Posted September 9, 2016 I have run across half a dozen of this type of maker. Usually they are very talented, IMO, but have some quirk which they can't shake off. I find it tragic more than anything else. At least in this case there doesn't appear to be any wasted talent. Quote Link to comment Share on other sites More sharing options...
FredN Posted September 9, 2016 Report Share Posted September 9, 2016 I just hope MN has forgotten my post on drilling over 700 holes in the inside of a viola top I made. How can you tell the top was drilled when played? You look inside and the label says "holes drilled". Anybody wants to know how to waste time, post me- fred Quote Link to comment Share on other sites More sharing options...
Addie Posted September 9, 2016 Report Share Posted September 9, 2016 Mmm.....graphite core......this may be a groundbreaking soundpost, I might think about putting on a revolutionary theory to lure some simple mind. You never stop learning.... Davide, the beauty of a graphite core sound post is that, once it is set, the vibration of the plates marks the position of the sound post with perfect graphite dots. Much better than hiring the cast of "Honey I shrunk the Kids" to go in and mark the position... Quote Link to comment Share on other sites More sharing options...
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