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Bass bar wha...?


Polk
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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!

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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?

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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.

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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 

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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.

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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

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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.... :rolleyes:

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...

post-35343-0-44972500-1473465483.jpg

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