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  2. We don't all know that. Using such matching wood is a visually perk, not any important acoustic princple. Also, it happens much less consistently in classical work then you might expect.
  3. The neck will not considerably amplify the sound by emitting it’s own vibrations, it just receives vibrations from the pegbox and brings them to the top block. Try knocking on a shaped neck (without the pegbox or corpus). It will be quiet. Try knocking a strung violin by the neck, and it makes a much louder sound. The fingerboard is a different issue, where it overhangs the end of the neck. None of us are wrong here, just miscommunication (mainly on my part).
  4. duane88

    neck back ribs

    So why, then, when a collar or pip on a peg is loose do we have a buzz that the conductor can hear? Clamp a small C-clamp(padded, of course) to the scroll and play the violin. Put a glob of modeling clay under the end of the fingerboard and play. What happens.
  5. No real reason. Probably a good idea,... that would lighten the garland a couple more grams. Garland and back weight is 176g. The blocks are dense Sitka so I could use some lower density spruce for blocks too. The linings are willow.
  6. I still don’t have the fittings I ordered, but was too impatient to fit the bridge string heights. Here’s what I came up with in 5 minutes- it even works alright! An old tailpiece with makeshift leather cord, wrapped two old strings through a peghole and around an old brush handle. You can even tune it (at low tension) (I’m 1mm off string heights) Regards to all
  7. Ok, well pointed out. It does not considerably contribute to the amplitude of sound per se, but facilitates amplification of the corpus.
  8. Today
  9. How does the neck transmit vibrations into the body, if it does not vibrate?
  10. He has no need for publicity or marketing, he makes at a glacial pace, and he produces results. Would that I were so successful!
  11. Initially, sure. After a few moisture cycles, combined with the realization that wood is a rather plastic material, all that goes out the window.
  12. I looked him up but can’t find any listings at all except some obituaries for, presumably, a different person. But this violin is really gorgeous.
  13. thanks Guy -- what a great idea! I use the thin stuff for making templates. Laminating 3 layers of the thicker stuff must make a really stable, dense and durable form!
  14. No problem. Look back for the earlier post by Nathan Slobodkin in this thread concerning just this issue.
  15. Maybe I’m stating something obvious, or incorrect, but if this was exported out of South America (which seems consistent with the use of “Franca”) post a date that requires a visible origin, the stamp could have been added to achieve the shipment. The misalignment would explain trying to do so through the ff. Whether the instrument is real or not, this would explain the stamp’s legitimacy. If South America was even slightly as difficult to import/export anything of slight value as it is today, then the exporter was trying to cover his/her butt.
  16. I did a neck reset on a handmade guitar a while back and that was a true dovetail and did not require glue to keep it firm. As the neck was pushed down into the angled V joint it became tight enough to be used without glue - but of course I did glue it. Is a modern violin joint the same as a guitar and does not need glue to hold it in place tightly ?
  17. It tells us that the neck has unflamed wood. This is often done to make it easier to carve the scroll. Good neck wood should be stiff and low density, stiff to withstand the string tension, low density so as not to dampen the sound. The neck itself does not vibrate, but it transmits vibrations into the body. Hope that helps a bit
  18. No cup needed. Step 1: Build a cage just large enough to fit the rabbit comfortably with a little room to roam. Make sure the floor is made from a strong screen. Step 2: Place a pan under the cage a little bigger than the dimensions of the cage. Step 3: Be sure the rabbit has plenty of water. Step 4: Play recordings of Steve Martin's acts for the rabbit. Step 5: Harvest the pee. Step 6: Repeat Steps 3-5.
  19. You are welcome to disagree, but you may want to read that link again. It's a variant of the sliding dovetail and listed by use (violin necks) in the link I provided (read the "uses" section for "sliding dovetail"). Though some French makers increased the angle for the portion inside the block (so you'll still need to be careful when you disassemble or you'll make a mess of the upper ribs). The common neck joint has a simple taper (the sides are not parallel). If the sides were parallel, I'd call it a tenon. If a reamer wasn't tapered, I might be tempted to call it a drill. "Sliding dovetails are assembled by sliding the tail into the socket. It is common to slightly taper the socket, making it slightly tighter towards the rear of the joint, so that the two components can be slid together easily but the joint becomes tighter as the finished position is reached. Another method to implement a tapered sliding dovetail is to taper the tail instead of the socket." Sounds like they are describing a neck joint to me.
  20. Has anyone seen this Franca stamp vs. France stamp before?
  21. Not to someone as highly experienced and knowledgeable as your good self, but to someone new to violins I would say a definite yes. I appreciate that the neck on a violin is called a dovetail, but it is not the same as the dovetail wiki you refereed to. In my own case, and before I attempt to try and dismantle the neck of my violin, it would be extremely helpful to know what I am actually dealing with, as it could cause more damage than necessary. Is it a simple shallow tenon joint that shapes down to a V with parallel sides or an angled dovetail ?
  22. Interesting convex shape of corner blocks, is there any particular reason why it is not concave as usual?
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