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Jwillis

Weak sounding d string?

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I recently played a violin with a weak sounding d string. I’m sorta interested in it if it can be remedied.  G, A, and E seem to sound pretty even.  What might be the issue  bassbar?, post?  Top has had repairs from what I recall.  Just wondering if anyone had any idea of the problem (I’m aware it probably could be a variation of many different things)  what would you try first?  thanks 

 

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I'm curious what the more seasoned adjustment mavens will have to say. My initial thoughts run to the placement of the post, maybe the upper end in particular (assuming it fits to begin with).

Edit: dead string? Another thing that is well worth looking at right off the bat is the string grooves in both the nut and the bridge. If these are too deep or badly fitting (too narrow or wide for the string in use) you're going to lose out. 

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Thanks for the quick reply. I’ll really look at those few things next time I play it.  Maybe take a different d string and see if that makes a difference.  Honestly, I should have looked at the nut when I was there that may very well be it.  

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Each string with its tension help deflection the bout structure that become stress.If the stress condition is poor a thicker string might help since that string need a higher tension coming to pitch. The reason of a poor sound result is based on a poor dynamic behavior of the violin body. Many violin makers and scientist believe that all sound become produced trough the action on the bridge. This is wrong. Thre are TWO things the strings does. ONe probally the most important is providing the instrument with frequency imput. The SECOND is the action on the end blocks bending the instrument over the sound post. This produce deflection and vibration of the bout shapes. No vibration= poor result of sound producing and poor breathing of the instrument with little projection. If all is tried on the sound popst position and bridge shape you may try changing the string. If this does not help you only can improve by reducing stiffness of the bout shapes. This you can do by poishing the varnish or on the instrument in the white scraping the surface. I have many years of experience improvingh that way and have very good result. But all is understanding the TWO behaviors of what the string does.

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6 hours ago, reguz said:

If this does not help you only can improve by reducing stiffness of the bout shapes. This you can do by poishing the varnish or on the instrument in the white scraping the surface. I have many years of experience improvingh that way and have very good result. But all is understanding the TWO behaviors of what the string does.

So instruments can be made to sound better by polishing the varnish because polished varnish has reduced stiffness? :unsure:

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30 minutes ago, Wood Butcher said:

So instruments can be made to sound better by polishing the varnish because polished varnish has reduced stiffness? :unsure:

i suspect he means sanding some varnish away ..

a weak d string has been discussed before, here's one with some more ideas:

 

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56 minutes ago, Wood Butcher said:

So instruments can be made to sound better by polishing the varnish because polished varnish has reduced stiffness? :unsure:

Yes Emilg, This is correct. I have a lot of experience in this matter over the last 7 years. But the varnish must have  been oxidated over sevaral year so it has strings. With other words it should not be too flexible.

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To all of you listening to Don Noon try to come to an understanding of the enclosed figure. The figure explains what happens when we increase pressure on the end of the arc shape =P+

The arc will deflect and the stress conditions will change. The diagram under each figure show the stress condition. The P+ will get higher + and - stress condition. Just as it is on a string=a straight structure with equal stress condition on the cross section by increasing tension the stress on the square increases. The pith of the string frequency increases. On the arc shape the length of the arc remain the same and the stress condition on the in and outside changes. This affect the frequency the arc may vibrate. Reducing the thickness of the arc shape will increase the stress condition on the arc and a new vibrating frequency condition arises. On the arching shape of the bout we find may different arc shape. By polishing on the surface or scraping on the surface we change the stress conditions and another stress condition arises.

You don't need to be a rocked engineer understanding these simple circumstances

which influences the frequency it might vibrate. Is this difficult to understand?1110322698_20190907bendingstressonarcshape_20190907_184447.thumb.jpg.b2936980126eacfd6fc68659aca46e10.jpg

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I don't think "polishing the surface" or "scraping the surface" is something that a violinist with a weak D string is going to ask his/her luthier to do ...:lol:

Anyway, I am convinced you are an AI bot since you have such an extraordinary lack of awareness of the company you are keeping on Maestronet. I would like to see a photo of you working on a violin, just to be sure you really exist ...

Or to be more serious, models are all well and good, and you have your own (somewhat dogmatic and reductive) way of describing a violin. But you offer no insight into how you might control that model to affect the tone and playability. Perhaps you can tell us specifically how you would modify the flexibility of a table in oder to bring a weak D string into balance with the other strings?

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Dear Martin. No, I either believe a violinist ask you to do anything on his violin. Simply because a violinist does not know anything about the function of the violin.

Yes, I have an extraordinary awareness based on almost fourth years of studying the structure and function of the instrument not only in theory but also in practical work.

I'm not a violin maker but I have good result on my theory and stand for what I say. Saying that I'm dogmatic and I try to find simple answers on the difficult shape of the instrument. There is no doubt from my view that the instrument basically is a geometric construction in order to function on a specific way. The structure is based on the geometric shape of the arching the sound producing shape. I have shown that there are specific structural conditions that may produce specific mechanical/dynamical result. One of the most important to understand is that the sound post hold the function being the center of rotation of surrounding structure. Scientist say the center= the sound post becomes forced downward. I say this is technical impossible. I have described how you on a simple way can find out. About the function result on the D-string. the sound post is not moving structure. The cross section between the upper F-hole are other. The end blocks are moving structure. What we see is a longitudinal beam on four supports of which the two in the center are fix while the outer move. Balancing the mechanical/dynamic, letting the three part interact in a special way, an optimal way, will make it possible getting conditions the D-string producing good sound. If one of the three structures fail in the dynamic process the G-string in negative affected. By polishing the failing behavior on one of the three areas it is possible improving the outcome.

Martin this is not an violinist will ask you to do because he does not know how to do or do you? Then let us know!! All the best. I'm sure you make very nice instruments as the amy how read these lins do but thus far I have not met any maker that do improving work as described by me.

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