David congratulations for the video and the processes shown. I wanted to ask you, please if you could tell me the dimensions (width, length and thickness) of each board that you use. I also looked for the dimensions on your wb site but I didn't find them...
If the top will spring into position to close it up, then just clamp it together, because the top plate flexes with little harm to sound quality. Just my experience... David L.
When you cut and carve the top the tap sound will change. Whats the dimensions of the block so we can apply that rule? And if we apply that wood selection rule before the top is built , when we have already built the top , the tap sound wont be the ideal since the size of the block changed a lot. Can u clarify me this?
Good questions..... The types of wood characteristics we are referring to are not affected as the instrument is being built tap tones, yes that changes but wood tone, rub tone, rich side scale wood frequency, response frequency, these to with the piece of wood; and after all wood characteristics are very important and will define the voice for its entire life.... David L.
The tap tone numbers are the frequency of the sound that comes out of the taping? Another question that i have if those ideal numbers of the violine making are also the ideal numbers for the mandolin since the afination is the same! Can someone give me some asnwer? Thank you :D
I believe that all members of the violin family have constant ideal frequencies and adjustments; but other instrument families, I suspect have their own special characteristics... David L.
Hi David, a Xylophon(Tone plates to hammer on them) has different wood tones depending to the length. So why do you think the wood tone is fixed to the wood? Do you make a basic mistake?
Scot; There are a number of 'tones' associated with a piece of wood {part of the violin}, each of which is different from the others: There is the 'tap tone' {which is struck tone you refer to, with a Xylophon}; Next there is the 'rub tone, wood characteristic {which is important to wood response to vibration; see: www.violinresearch.com/violinrubtone_027.htm and :www.violinresearch.com/violinrubtone_007.htm; Also the 'wood tone' which distinguishes about 70% of the trees in a 'tone-wood' forest (where wood is selected for wooden musical instruments), see: www.violinresearch.com/violinrubtone_029.htm ; the 'warm tone' (future use undefined as yet.) ; the 'response tone' which should be used to eliminate unsuitable instrument wood, see: www.violinresearch.com/woodselection_004.htm ; All these various 'tones of wood' are listed in this directory: www.violinresearch.com/woodselection_010.htm ; The main 'tap tone' directory for the various parts of the excellent violin is found here at: www.violinresearch.com/violinrubtone_032.htm ; So you see Scot; the subject is very much larger than any of us would have thought! SO.. In answer to your first question: '...is the wood tone fixed to the piece of wood, the answer is; Yes it is. The only wood characteristic that is not fixed to the individual piece of wood is the 'tap tone'. As you will see above, each part of the violin has its specific ideal 'tap tone'. There is an easy way to adjust a violin to the correct tap tone, for each part, and that is to use the 'violin plate / Bass bar' tool : see: www.violinresearch.com/taptonetechnology_031.htm I imagine that this amount of information will meet your desire to know more... David L.
@@dalemfg I could be silent. first "thx for you spending time for me" second: I have a very bad feeling about" ...ideal is...,when NO Reason is declared is explained. Your IDEAL may not be the Ideal for other peoples taste of how a violin should sound. personaly I like darker sounding violins. so my IDEAL is a lower wood tone. less mids and less heights. when you set all pieces on your violin to the own wolftone resonance frequency you will get what you got. Don´t you think that this needles sticking out of the frequency band are bad to the ear of the player? you might create violins full of different sharp extreem wolftones. Is this an IDEAL to follow? maybe it is the opposite? Don´t do this to avoid wolftones. Your flat Back is a source for high frequency wolf tones, you might it great, I don´t. To keep plates curved is what old masters gave us as Ideal. They already knew. for purpose they´ve built in recurved zones. I´m sorry can´t be silent. cheers my friend. I like you.
Scot; Thank you for your honest response. I might suggest you also might want to listen to my last seven violins being played by a good violinist. You can hear them (in number order) by typing "my last seven violins" in your web browser. Three of the violins were made with m experimental parabolic reflector back plate and four with the traditional Strad back plate design. David L.
@@dalemfg I want tell U something to think about. If we nowadays go in a warehouse to buy a TV we see normal coloured/grey own country build one(I´m dreaming) and nearby an extraterrestial(not real that) full extrem coloured one(Setting 100%Contrast for Standart Sell Trap). Neonbright RED/GREEN/BLUE. If we try to check the slider we need many days to find the hidden Slider in Advanced Setting. when 50% Contrast we set all of a sudden the Dislay is normal grey/coloured as the natural environment in the Room. And the other allready normal set TV in the Shop stays in the Shop for ever. The brand goes broke. So the violin shop when not putting a overbright Treblemonster to offer. The Soloist´s may want that, having earcolsies to play. We home player don´t want that, we want the natural Contrast Thing. I recorded a human voice and compare this with a violin record. I have one violin that fitts. Most are Monsters. (Wallhanger) cheers. Scot. I´ve allready analysed your last 7. Thx. no natural voice sound, but good Examples for 100& Highfreq.Contrast Display. Truth if like or not.
David congratulations for the video and the processes shown.
I wanted to ask you, please if you could tell me the dimensions (width, length and thickness) of each board that you use. I also looked for the dimensions on your wb site but I didn't find them...
If the top will spring into position to close it up, then just clamp it together, because the top plate flexes with little harm to sound quality. Just my experience... David L.
fascinating videos.
Bob; Thank you... David L.
When you cut and carve the top the tap sound will change. Whats the dimensions of the block so we can apply that rule? And if we apply that wood selection rule before the top is built , when we have already built the top , the tap sound wont be the ideal since the size of the block changed a lot. Can u clarify me this?
Good questions..... The types of wood characteristics we are referring to are not affected as the instrument is being built tap tones, yes that changes but wood tone, rub tone, rich side scale wood frequency, response frequency, these to with the piece of wood; and after all wood characteristics are very important and will define the voice for its entire life.... David L.
The tap tone numbers are the frequency of the sound that comes out of the taping? Another question that i have if those ideal numbers of the violine making are also the ideal numbers for the mandolin since the afination is the same! Can someone give me some asnwer? Thank you :D
I believe that all members of the violin family have constant ideal frequencies and adjustments; but other instrument families, I suspect have their own special characteristics... David L.
Hi David, a Xylophon(Tone plates to hammer on them) has different wood tones depending to the length. So why do you think the wood tone is fixed to the wood? Do you make a basic mistake?
Scot; There are a number of 'tones' associated with a piece of wood {part of the violin}, each of which is different from the others:
There is the 'tap tone' {which is struck tone you refer to, with a Xylophon}; Next there is the 'rub tone, wood characteristic {which is important to wood response to vibration; see: www.violinresearch.com/violinrubtone_027.htm and :www.violinresearch.com/violinrubtone_007.htm;
Also the 'wood tone' which distinguishes about 70% of the trees in a 'tone-wood' forest (where wood is selected for wooden musical instruments), see: www.violinresearch.com/violinrubtone_029.htm ; the 'warm tone' (future use undefined as yet.) ; the 'response tone' which should be used to eliminate unsuitable instrument wood, see: www.violinresearch.com/woodselection_004.htm ;
All these various 'tones of wood' are listed in this directory: www.violinresearch.com/woodselection_010.htm ;
The main 'tap tone' directory for the various parts of the excellent violin is found here at: www.violinresearch.com/violinrubtone_032.htm ; So you see Scot; the subject is very much larger than any of us would have thought! SO.. In answer to your first question: '...is the wood tone fixed to the piece of wood, the answer is; Yes it is. The only wood characteristic that is not fixed to the individual piece of wood is the 'tap tone'.
As you will see above, each part of the violin has its specific ideal 'tap tone'.
There is an easy way to adjust a violin to the correct tap tone, for each part, and that is to use the 'violin plate / Bass bar' tool :
see: www.violinresearch.com/taptonetechnology_031.htm
I imagine that this amount of information will meet your desire to know more... David L.
@@dalemfg I could be silent. first "thx for you spending time for me" second: I have a very bad feeling about" ...ideal is...,when NO Reason is declared is explained. Your IDEAL may not be the Ideal for other peoples taste of how a violin should sound. personaly I like darker sounding violins. so my IDEAL is a lower wood tone. less mids and less heights. when you set all pieces on your violin to the own wolftone resonance frequency you will get what you got. Don´t you think that this needles sticking out of the frequency band are bad to the ear of the player? you might create violins full of different sharp extreem wolftones. Is this an IDEAL to follow? maybe it is the opposite? Don´t do this to avoid wolftones. Your flat Back is a source for high frequency wolf tones, you might it great, I don´t. To keep plates curved is what old masters gave us as Ideal. They already knew. for purpose they´ve built in recurved zones. I´m sorry can´t be silent. cheers my friend. I like you.
Scot; Thank you for your honest response. I might suggest you also might want to listen to my last seven violins being played by a good violinist. You can hear them (in number order) by typing "my last seven violins" in your web browser.
Three of the violins were made with m experimental parabolic reflector back plate and four with the traditional Strad back plate design.
David L.
@@dalemfg I want tell U something to think about. If we nowadays go in a warehouse to buy a TV we see normal coloured/grey own country build one(I´m dreaming) and nearby an extraterrestial(not real that) full extrem coloured one(Setting 100%Contrast for Standart Sell Trap). Neonbright RED/GREEN/BLUE. If we try to check the slider we need many days to find the hidden Slider in Advanced Setting. when 50% Contrast we set all of a sudden the Dislay is normal grey/coloured as the natural environment in the Room. And the other allready normal set TV in the Shop stays in the Shop for ever. The brand goes broke. So the violin shop when not putting a overbright Treblemonster to offer. The Soloist´s may want that, having earcolsies to play. We home player don´t want that, we want the natural Contrast Thing. I recorded a human voice and compare this with a violin record. I have one violin that fitts. Most are Monsters. (Wallhanger) cheers. Scot. I´ve allready analysed your last 7. Thx. no natural voice sound, but good Examples for 100& Highfreq.Contrast Display. Truth if like or not.
Scot; Thank you for the conversation... and I will take this as a compliment, to me personally. David L.