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violin structure and function


reguz

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Over the years all violin makers struggle with the problem how to shape the violin structure.

No good answer has been given in spite of research over at least 200 years.

There may be makers that have ideas.

So please let know us what you have to say about structure and function.

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I have played violins 50, 100, ca 150 and 200+ years old. They all seemed to hold up pretty well. Also, they all sounded pretty much the same to me.

I have tried to follow your writings about violin structure but understand nothing of it. If OP could write a abstract ten lines long about his theories I think it would help much.

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2 hours ago, reguz said:

Over the years all violin makers struggle with the problem how to shape the violin structure.

No good answer has been given in spite of research over at least 200 years.

 

This is nonsensical.

The violin was brought to perfection 300 years ago, so there is no problem to solve. We can easily study the structure - it's a traditional form not a theoretical one.

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Not sure if I agree with that. 350 years ago instruments were built that we still call violins, but had different arching than the ones used 50-70 years later, which is vastly preferred today. 

I do not see an inherent reason why arching couldn't be adapted again and the result still being a violin, maybe again preferred by future generations. 

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Well, answers thus far do not say any about structure and function.

Mr. Bean seem to have big problem struggling with that.

Why writing as you do?

David answers as always, no sense. Why David? Can you not contribute with just with some simple words?

Yes Martin Swan. We all know that Stradivari 399 years ago made these fine instruments and you know about that. Why is it you do not make an instrument with the quality of his?

As I have wrote before you can fill your office or workshop with papers written about violin investigation from the floor to the roof and still there are no answers how to do.

There is a reason for that. People cannot give a proper answer.

That is the reason why I with my technical back ground started studying the sound producing part the shape of the belly.

Is there any technical secret hidden in its function?

That was to find out.

Is there any of you that can give a proper answer on that.

I gave it a try and I show what I found and more.

I do not say this is what Stradivari did.

No, I just make it open for any one studying and make a comment saying is it really it can be what you show. That is what you may do or come with an explanation by your salve.

Thus far only the answer by

Mr Bean

David Burgess

Martin Swan.

I very much appreciate that you are open showing your real name unfortunately it does not help us forward in a discussion. Just let us know what you know or believe!!

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2 hours ago, reguz said:

There may be makers that have ideas.

Rib construction. Asymmetrie for Outline, arching f holes, neck position. Bending instead of carving. New materials. (Bamboo, Balsa) Composite material concepts.

57 minutes ago, martin swan said:

This is nonsensical.

The violin was brought to perfection 300 years ago, so there is no problem to solve. We can easily study the structure - it's a traditional form not a theoretical one.

The Cremonese violin concept was brought to its own unsurpassable level 300 years ago.

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Dear Martin. If there is no problem to solve just let us know how to shape the arching related to the outline or vise versa. If that is not a problem just show us how to do.

 

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30 minutes ago, reguz said:

David answers as always, no sense. Why David? Can you not contribute with just with some simple words?

If you had a better memory, you would recall that I have given detailed answers in past threads.

But I'm not willing to go through the same tired old routine over and over and over and over again, every time you bring it up like a "broken record".

Try coming up with something novel that you haven't already said 20 times before. :lol:

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1 hour ago, iNeedAnswers said:

Not sure if I agree with that. 350 years ago instruments were built that we still call violins, but had different arching than the ones used 50-70 years later, which is vastly preferred today. 

I do not see an inherent reason why arching couldn't be adapted again and the result still being a violin, maybe again preferred by future generations. 

I'm really talking about Strad Golden period and del Gesu.

Diligent copyists have certainly equalled the sound, but their violins will never be as valuable or perceived to be as good because they just aren't the originals.

If someone could come up with a pressing reason to improve on the classic Cremonese models then we might think how to do it ...

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Dear Martin, Show us how to do the practical work bu showing the underlaying structure with a map or drawing. You write a lot of words by no one can make a violin from that.

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David repeat him selve but neither David can show any drawing as the underslaying structre. I have graet respect for you as a violin maker.I have seen you in the museum in Cremona, Great but now we ar talking about structure and function. An answer please.

 

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Dear Mark Norfleet. My study ofthe violin shape started by studying the shape of Sacconi arching shape based on ISO lines trying to find a underlaying geometric based structure. The result is shown on www.zuger.se. But before I came that long a lot of structural layouts were tested finding out if structure on the upper bout also can become constructed having the same conditions the lower bout. Read the internet site and if questions arise I will do my utmost giving proper answer.

 

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" "and won't engage further on this topic."  "We've" been saying that for years " "

told you so

Reguz, all I can say is the more you understand the Kasaba Melon, the more it all makes more sense than the carrot itself, which is as we know far from the North Pole under most circumstances, particularly on Tuesdays, there are not many who know this, something I take particular pride in. I can write more words but that doesn't mean it particularly makes more sense that way, unless of course it was Friday, then we all know what that means, Fish Wednesdays
 

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Like I’m going to disagree with Maestro Burgess about anything when it comes to violin design or violin making. I’d sell a kidney to add a Burgess viola to the herd here.

That said I do enjoy the strange and unusual both modern and ancient. My collection includes some of each. The classic design that is embodying in the golden period Stradivari is what most of us think of. How much of what a good instrument sounds like is because of this design where deviation from this design gives you something that sounds ok but maybe not like a violin? Sort of a two edged sword. 
 

I like violas as nobody knows what the hell a viola is supposed to sound like!

I have a couple of cornerless instruments, both a violin and a viola that are pretty wonderful. 
 

the problem is that it takes just as much or more work to make something outside the box and if it doesn’t work out it is time and materials that you gain experience from but not income.

DLB

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14 minutes ago, Dwight Brown said:

I’d sell a kidney to add a Burgess viola to the herd here.

Careful - with the shortage of organs for transplant you're not making an unreasonable offer.

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