what happens if i get D# or D on mode 5 but i feel rigid (not flexible) the top, is it most important the tunning than flexibiity i know this is about density, but what do you think about that?
Tap tones and flexibility are closely related, in fact I use the tap tones frequencies as an index of stiffness (along with the weight can give a good index of stiffness). The stiffness that is perceived when flexing with hands is related to the tap tone note, so probably your sensations would take you to a tap tone of C# or C, which would result in a M5 tap tone with bassbar around E or even D#. Although I consider the D# with bassbar too low, some violins have top plate tuned at E (even a few Strad) so it can be done safely if you like. The acoustic behaviour will be different but it is only possible to guess on the outcome : I think that, with the same arching shape, low plates stiffness softens the sound and tends to darken it, resulting in a free and pleasant sound but probably lacking in cutting power and edge. Stiffer plates go in the opposite direction, but too stiff reach harshness easily. Moral of the story : tap tones give us only indications to be used in correlation with all the other factors of the violin, but taken alone they can not say much with certainty, because everything depends on the combination of all the factors.
Davide Sora i apreciate a lot your answers, i learn and understand soo much and i think other people interested about topic will be thankfull with you. Thank for take the time for answer us!! 😃
Being a physicist and a hobby violin player my enthusiasm grows from video to video watching Davide showing his masterful skills, science, and art. What will you do if the tone is not correct? Some luthiers adjust the resonances with potassium or sodium silicate painted inside the box on certain places or they use some excess casein. At least I read so in a few places.
Trying to correct an unsatisfactory tone with this type of intervention in my experience does not lead to any results, nothing of the kind could remedy inadequate wood properties or a fallacious construction, and it could even make the situation irreversibly worse. All you can do is try to act on the elements of the set-up (bridge, soundpost, strings, tailpiece, pegs, fingerboard) trying to modify them to improve the tone, with the advantage of reversibility. More drastic interventions could be made, such as replacing the bassbar, changing the thicknesses and so on, but if you started with a low-quality wood or you have wrong the arching curves there is not much hope, and in the vast majority of cases it would be only a waste of time. You can't turn a nag into a thoroughbred...😊
@@DavideSora Thank you for your detailed answer. You make very plausible points. However, new findings show that the "old Masters" Stradivarius and Guarnerius used chemistry to manipulate the properties of the wood they used. www.psi.ch/en/media/our-research/secret-of-stradivarius-violins-revealed Do these findings match with your informations about this issue? Another question: If the choice of the pegs influences the violin sound spectrum, is it advisable then to use Wittner pegs which have surely special properties?
@@ghlscitel6714 I know the paper you linked well, I think I have read all the scientific papers on this topic, keeping informed is essential😊 But the scientists tell us what they find, but not how to apply it and where it comes from, for example the salt could be contamination from the sweating of the musicians, and also the chemical elements found could be the result of chemical reactions that took place over time, but the starting materials could be different and in different percentages. Not to mention different studies conducted by different researchers and with different systems, which often also have contradictory outcomes. Furthermore, those of scientists are only guesses based on what they find, but they are the first (if they are serious) to use terms such as "could be", or "our opinion is", but they never offer any certainty or methodological suggestions for the luthier. Their conclusion is always "further studies will be needed for a better understanding" or something like that. Furthermore, I have not yet seen a violin built by these researchers using their theories that even remotely works as a good violin, so it's up to the luthier to take the results of this research with a grain of salt.
@@ghlscitel6714 Regarding the Wittner pegs, their major "defect" is that they are much heavier than the traditional ones. If the perceived weight is not a problem for the violinist, they may be fine. Whether this is a problem for the sound depends on the violin, some may react worse or better to the added weight than others. Making the scroll heavier will affect the harmonic spectrum in the low bending modes, lowering their frequency. Whether this is negative or positive will again depend on the violin, and on the starting frequency of these bending modes. As usual, generalizations do not work in violin making, each instrument is truly a unique case and should be treated as such. For example, in cellos shifting the frequency of these bending modes could eliminate some annoying wolf tones, or create new ones where they weren't. The same goes for violins even if in a less perceptible way, it depends on how refined and demanding the sensitivity of the player is.
Hello Mr Sora I have a general question about the violin plate tuning and violin body resonance. If the basis A=440 HZ. 1- What is the best range of M1, M2, M5 for Belly Plate? 2- What is the best range of M1, M2, M5 for Back Plate? 3- What is the best range of A0 ,C2 ,B1- ,B1+ ,A1 for violin body resonance? 4- At the time of Stradivari ,How many Hz was “A” ,440 HZ Or 432 HZ ?
Well, the A 440 Hz doesn't have much to do with the violin modes, precisely because in Stradivari's time it wasn't fixed, and even today it isn't always respected and there are different preferences among violinists and according to the period of the music which is performed. There is not even a real "best range" for the modes, but only personal preferences of the luthiers or depending on the violins taken as a reference, which always have slightly different modes in terms of frequency and relationship between them. You can see my preferences for the M5 free plates in these videos (see the English translation on the description page): Back Plate: ruclips.net/video/7W9a3V4TxFQ/видео.html Top plate: ruclips.net/video/wa_QCwV5uBw/видео.html I won't go into all the other free plate modes and those of the finished violin, because it's a fairly complex matter and would require many pages to deal with it, simply indicating an abstract "best range" doesn't make much sense, everything must be considered together with all the others characteristics of each single violin in its uniqueness. Violins are not made by numbers, of course they can be useful for the luthier to address his decisions, but in the end it will be his sensitivity and ability to interpret them based on the material he is working on that will make the difference, since it is perfectly possible to obtain perfect numbers and violins that don't sound good. Lutherie isn't rocket science, it's more complicated😅 But given your nickname "ViolinResearcher", I'm sure you know all the vast scientific literature about modes, sound analysis, modal animations and so on. There are really many studies on the subject, with the most disparate indications of ranges and numbers explained by people more prepared than me to do it.
Davide, thank you for teaching us. Do you have a video that shows desired best flexibility of the top and back plates that we could watch? It would really help to have a visual example we could watch.
Grazie, molto interessante! Esiste una ricerca che mostra le differenze di tono tra tavola e fondo nei violini storici? Tu preferisci tenere il modo 5 piu alto sulla tavola? Quali sono le differenze che concorrono ad una maggiore proiezione?
Esistono diversi studi che affrontano l'argomento, a partire dagli anni '60/'70, ma i dati sono ben lontani da ottenere una attendibilità statistica. Infatti per avere i toni di tavola e fondo bisognerebbe smontare gli strumenti, cosa non fattibile. a volte si hanno i dati delle tavole, i fondi è più raro perchè scollarli è un'operazione ben più complessa e rara. Oggi gli studi si stanno concentrando sull'analisi degli strumenti finiti, che sono più fattibili per ovvie ragioni e che sono sicuramente più affidabili che concentrarsi sui toni di tavola e fondo liberi, che non hanno una rilevanza attendibile una volta assemblati nello strumento finito. Puoi seguire questo canale RUclips che riporta molte conferenze trattate da esperti di acustica del violino: www.youtube.com/@oberlinacousticsworkshop9137 Per me il M5 della tavola non deve essere necessariamente più alto del fondo, anche uguale va bene, o anche più basso nel caso che il fondo sia talmente rigido da non riuscire ad abbassarlo più di tanto. Le frequenze da sole sono prive di significato, vanno sempre valutate insieme al peso e agli spessori e contestualizzate nella situazione generale, se si guardano solo le frequenze la possibilità di fare danni è superiore alla possibilità di ottenere benefici. Nessun rapporto o numero magico, mi dispiace, il punto cruciale rimane la nostra esperienza e capacità di combinare i vari fattori in gioco. La proiezione è la risultante dell'efficienza vibratoria del violino, quinti tutti i fattori legati alla costruzione contribuiscono a crearla. Metterei in primo piano le proprietà dei materiali, senza legno sufficientemente rigido, leggero e con un'alta velocità di trasmissione del suono temo che la proiezione sarà la prima a soffrirne.
For the patterns at 0:49, I'm assuming that the white parts indicate intense patterns of movement, while the darker parts indicate less movement correct?
Quite the contrary: the more marked white parts indicate nodal areas, i.e. where there is no movement, while the dark parts indicate antinodal areas, where the movement is maximum. In this type of analysis (laser interferometry) other white fringes also appear, indicating a progressive increase in mobility (from solid white = steady, to solid black = maximum displacement).
È possibile fare una traduzione in inglese di questo video per favore? Grazie gentilmente Is it possible to make an english translation of this video please? Thank you kindly! Translation made possible by Google translate!
The English translation is already there, you can find it on the description page below the video, by clicking on "show more" on PCs or on the small arrow to the right of the title on mobile phones
Hello Davide, Excellent video; I'm making a Viola number2 these days, and, I also use this technique of tuning softwares by cellphone; but I have noticed that the cold, winter, heat, relative humidity, does vary the modes.. Is advisable, is good, to leave the plate finished with a few Hertz above what is intended to be finalized? Thanks for your video!
Hello Davide Sora blessings for you, i have a question why the back give me lower tomes that the ones tha shoul sone? What i need to do for ajust it ? Thank you for allá the knowlege that you share for us. Greeting from México.
The low tap tone frequencies may depend on various factors, such as the starting properties of the wood (modulus of elasticity, density), on grain and fiber that may not be too straight and regular, and above all on the shape of the arching, which could give too little stiffness. You can't do much to raise the frequencies, you can try putting some casein or glue on the inside, it might raise the M5's frequency a bit, but not that much. Le frequenze più basse possono dipendere da diversi fattori, come ad esempio le proprietà iniziali del legno (modulo di elasticità, densità), da una possibile venatura e fibra non troppo dritta e regolare, e soprattutto dalla forma della arching, che potrebbe essere troppo poco rigida. Non puoi fare molto per aumentare le frequenze, puoi provare a mettere della caseina o della colla all'interno, potrebbe aumentare un po' la frequenza dell'M5, ma non così tanto.
@@marcojacobo7403 The elasticity is measured with Young's Modulus (E), which is obtained by multiplying the density by the speed of sound squared, divided by 1,000,000. Density is obtained by dividing weight by volume. Another useful wood property to measure is the Radiation Ratio (RR), which is obtained by dividing the speed of sound by the density. They are just numbers, it is not essential to know them to make good violins if you have experience, but they can give some useful indications to try to anticipate the results you can obtain with the material you are using.
@@marcojacobo7403 For the stability of the wood, 4 or 5 years of seasoning are more than enough, but from an acoustic point of view, a longer seasoning would be desirable. For the wood I use for my violins, I consider a wood aging of at least 10 years, and preferably between 15 and 20 years, as ideal. This seasoning is the period that the wood is in my possession, not the one declared by the sellers, which could not always be reliable.😊
Maestro, how is back plate billet quality determined when it is selected? Given the wedges are in different sizes, and at that size it has certain "ringing" sound of course, the pitch cannot be compared because of the different dimensions of each wedge. So what should one look for when selecting back plate material for good sound? 2. And is there a rule for matching the uncarved top and back plate pitch to within a certain range so that the final assembly will be in harmony?
The tap pitch can give you some information if you are able to discern the quality of the pitch, although this requires a lot of experience and is not completely reliable, it can be an element of the whole picture. The higher or lower frequency is only valid for pieces of identical size, and this alone has many limits too. Choosing the wood is fundamentally a matter of experience, from which derives the ability to first of all evaluate the correct direction of the fibers, the correct orientation of the grain with respect to the plane, the evaluation of the consistency of the wood, and the kind of sound it makes when lightly rubbed or scratched. You mainly rely on feeling and to the layman may seem a little voodoo, but the experience is what makes the difference between a long-time professional and a beginner. Of course, you can instead measure the qualitative parameters of wood such as density, Young's modulus, Poisson's modulus, sound transmission speed, etc. if you have enough time to waste in measurements and calculations to do and the right measurement tools with you, but then you would need some reference values that are not always known and that often go according to the preferences of each luthier. So we are all over again: experience is the key, and comes from comparing your choices when buying a piece and the results you will get from that piece, and the sensations it communicates to you during hand work. It is not possible to be foolproof when choosing wood, "Experience" is simply the name we give our mistakes, as someone said.🙂
I use the Gstring app for Android, unfortunately I don't know the equivalent for Iphone. However, any chromatic tuner that also indicates the frequency may be fine, alternatively there is the spectrum analyzer function of the Audacity free software that also works on Mac, however not as practical as a simple tuner.
Salve Davide! Ho un’altro dubbio....🤦🏻♂️. Prima di incollare la catena dici de applicare uno strato di colla nell’interno della tavola! Non capisco se devo applicare la colla su tutto l’interno o solo sulla superficie dove si collocara la catena... Scusami per il disturbo e ti scrivero presto sull’email per trovare un’altra data per vederci quest’estate! Grazie, stefan
Davide. Buon giorno. Cordiali saluti. Ho letto spesso che Strad ha accordato il Modo 5 mezzo tono o 1 tono più alto dall'alto dal basso. Vedo che li accordi entrambi su 371 Fa#. ho capito bene? Grazie.
L'accordatura non è così critica, io cerco di mantenere il M5 della tavola e del fondo entro una distanza di un semitono, se riesco a farli uguali va bene ma non è così evidente nel risultato acustico. Per la frequenza cerco di rimanere tra Fa# e Fa, ossia tra circa 370Hz e circa 350Hz. Degli Stradivari non sappiamo molto per avere un valore statistico affidabile, infatti ci sono un certo numero di valori per la tavola, in quanto è la parte che viene sempre staccata per fare i restauri, mentre il fondo viene staccato molto raramente, e quasi mai contemporaneamente alla tavola. Insomma, avere una tavola e un fondo di uno Stradivari nello stesso momento in modo da poter ricavare le frequenze e il rapporto tra di esse è praticamente molto molto raro se non impossibile.
Ciao Davide! I'm curious... In the Mode 5, what range of notes would a (400mm) Viola plates produce and wich one is the most desirable? Can I use the same thicknesses measurements from the Violin plates to make a Viola? Thank you so much for your kindness!
Regarding plate thicknesses, a viola top is the same as violins, and the back just a bit thicker, especially in the central part (C bouts and center). As for the M5 notes, the range is from C # to D for the top with bassbar, and from D # to E for the back. I think that the most desirable is the lowest possible, but with small violas it is quite difficult to get to C # without making too thin thicknesses
Hi master excuseme I would like to know what we have to achieve by taping the top and the back I mean is there an optimal range of notes for the different modes even an top and back ?
Always keep in mind that the tap tones considered on their own mean nothing about the final sound, they are only indicators of plate stiffness and should always be correlated with other parameters such as weight, arching shape, thicknesses, and material properties. Regarding the various modes, I mainly consider the M5 as an indicator of stiffness because it combines both the longitudinal (predominant) and transversal (partially) stiffness. Even the M2 has certain importance (transversal stiffness), but trying to tune all the modes on a specific target (I can hear 6) I think is a waste of time and in any case so complex as to be useless. I consider all the other modes less decisive but equally useful to observe in their evolution to obtain some more information on the properties of that plate, especially to compare them with those from other violin plates that we have done previously and of which we know the final result (violin sound). Probably every luthier who uses tap tones (please note that not all consider them useful, some consider them completely meaningless...) has his preferences and targets, you can find mine described in these videos (you can find the English translations of the captions in the description below the video): ruclips.net/video/wa_QCwV5uBw/видео.html ruclips.net/video/7W9a3V4TxFQ/видео.html
Buon giorno maestro. Video interessantissimo. Volevo chiedere una cosa. Rispetto alla tavola tenuta per i nodi dei modi, la tavola montata risulta vincolata anche sulle fasce; è messa in compressione dai blocchetti; riceve vibrazioni da questi ultimi che le ricevono dal manico e dal bottone (da qui mi viene da pensare che a livello teorico lo strumento montato e con la tavola compressa non debba avere un nodo all'altezza del ponticello). Come sta in relazione questo sistema così complesso (più complesso dei pochi aspetti che ho citato qui) con la vibrazione della tavola (o del fondo) liberi?
Non c'è una vera relazione tra i modi delle tavole libere e quelli del violino finito, che sono decisamente molto più complessi e la cui complessità aumenta all'aumentare della frequenza. Inoltre durante la vibrazione i modi agiscono in modo sovrapposto complicando ulteriormente la situazione. Analizzare le tavole libere a me serve principalmente per capire la rigidità delle tavole nelle varie direzioni (longitudinale, trasversale e torsionale) in relazione al loro peso, fattore che a sua volta influenzerà la rigidità dello strumento finito e di conseguenza le fequenze e le ampiezze dei modi di vibrazione. Ma è necessario legare queste informazioni alla resa effettiva del violino attraverso la prova e l'ascolto tradizionali che rimangono insostituibili, non ci sono macchine o misurazioni che possono predire con certezza il risultato finale. Però ritengo che unite all'esperienza tutte queste informazioni "scientifiche" siano molto utili. Se vuoi farti un'idea della complessità di vibrazione di un violino ti consiglio di consultare questi siti : www.bormanviolins.com/modalanalysis.html www.schleske.de/en/research/introduction-violin-acoustics/modal-analysis/animation/frame-model-animation/mode-1-f276-hz.html
@@DavideSora Grazie mille maestro. Mi sto attrezzando per costruire una viola per una persona che mi è molto cara e i suoi video sono molto istruttivi. Certo che sarebbe meglio potere seguire dei corsi dei maestri liutai, ma trovandomi nella situazione di non poterne frequentare mi aggiusto alla meglio. Magari alla fine suonerà meglio di un prefabbricato Yamaha o magari peggio, in ogni caso sarà fatta da me.
Hello Master Sora, I hope that you are still well and managed to avoid the virus. Since my last contact with you I have finally arrived at tuning of the plates but as this is my first violin I have come to an obstacle of ignorance. My M5 on the back looks like two slightly inward slanted vertical bars at upper bout and mirrored at the lower bout. Could you please advise me what to do to turn them into the expected opposing rounded shapes. The M5 frequency is 356Hz
Hello Jo, all fine here😊 I wouldn't worry too much about the mode shape, because at that point it could be affected by the mass of the button, especially if you left it too big, and it will be greatly reduced when finished. In any case, the M5 will close forming a ring when you glue the back to the ribs and when you glue the top closing the box, neutralizing the deceptive effect of free edges typical of free plates. However, it could depend on an excessive stiffness and mass of the back, which perhaps could be reduced to improve things. How much does your back weigh?
@@DavideSora Hello Master, I am glad to hear that you are well. Always hoping that this pandemic will come to an end soon and we don't have anymore people becoming ill or worse. Thank you for the speedy reply. Your explanation has given me hope and I can now stop with my procrastination. The weight of the back is 122gm which is much higher than my target of around 90g The belly is now 76g with the f holes and bass bar. The belly M5 is 335Hz and the node shape is nice and symmetrical. I confess that because of this being my first attempt I have not used the recommended Maple and Spruce combimation but used a combination of local wood (Australia) - London Plane for the back (maple family) density 665kg/m3, 9% denser than Maple, and Jacaranda for the belly density 352kg/m3. 3% less dense than spruce. I have used the London Plane for the ribs and the neck as well. I do think that the the wood itself is really nice to look at and has a nice ring. With this first violin I wanted to use these woods to help me learn to carve shape and learn to correct mistakes I make . If the final result will not sound as good as I would like it to sound it will at least be a beautiful sculpture following your teaching. Then maybe later I will be brave enough to get a set of good violin wood and produce something that is a bit better sounding than this first one. God willing that will be my 75ys birthday present. Thank you Master for taking time out to respond to me and to all the others who want to learn. Thank you for sharing your incredible skill and knowledge with us. Pray that life gives you and your family happiness and everything good. You are an exceptional human being.
@@jojuhasz3762 Thank you for your kind words, I'm glad when someone enjoy learning to make violins to get a personal pleasure. Even the choice of trying to use different woods related to your land I think it is a good thing, often for commercial reasons a professional like me has some hesitation to do so, but in ancient times the use of local woods that today would not be highly regarded (local field maple, walnut, pear, poplar, beech, willow and so on) was also quite widespread even among important luthiers such as the Amati and all other famous Cremonese of the time. So have fun and try to make the best of what you use, basically the sound is just an opinion and the characteristics of the wood you are using seem more than adequate to get a violin that will sound good in every respect. Davide
@@DavideSora Good Morning Master, You are amazing to be able to respond so quickly to your followers. Thank you for your encouraging words. As I wrote to you some time ago making the violin is my life’s ambition. Carving the wood and watching the shape developing gives me great pleasure. I just wish that I started earlier and not left it after retirement. Thank you again and I shall let you know how it all worked out. I will do my absolute best and hope the sound will be at least acceptable. Take care be safe Regards to you and your family with greatest respect Jo Juhasz
Caro Maestro when you glue the back and the top dou you check again the tunning of both?, i tell this because for the angle on the ribs these are affected by a new tension when they are glueded.
I check the back+ribs modes where usually M5 goes down one tone and M2 goes up one tone, this is due to added mass and stiffness from ribs. You can do the same for top if you like (that means ungluing the back and gluing the top) getting probbly the same trend as for back, but in my opinion it is wasted time due to the limited information obtained because, as in free plate tuning, it is still a transitory situation far from real thing (the complete violin with string tension). When you close the sounbox and attach the neck you get a completely new behaviour of the structure and it is quite difficult to predict the new modes of the com'plete violin starting from free plate tuning. Bowed instrument structure is very complicated, so understand with scientific reliability the effect of such a thing like ribs tapering and consequent top bending is almost science fiction, although in my non-scientific experience I could say that this bending of the top is somewhat negligible as an effect on stiffness, it is more a matter of geometrical arrangement.
I don't consider the M1 really important, but the range where it usually ends up in the top is around F/F# (more or less 84 to 94 Hz) About the same notes as M5 but two octaves lower.
ciao maestro, sei super. io ho una doamanda a te, come fa per fare la relazione peso e messa a punto della tavola e dello fondo... hai una ricetta dello peso? grazie, saluti brasiliani...
I do not know if I understand your question correctly, but there is no single recipe for making a back plate or a top plate, because it depends on different factors such as the properties of wood (density, speed of sound, etc.), the characteristics of the arching and the outline model, each of which will have a marked influence on the final outcome. The only recipe is the lowest possible weight with the greatest possible stiffness.
If you mean the difference between solid wood plates and laminate plates (made of plywood), there is no comparison, the laminate ones have a homogeneous structure which gives them equal stiffness in both directions (longitudinal and transversal), while for a violin a longitudinal stiffness is needed that is much greater than the transversal one, which is typical in solid wood, especially for the spruce of the top plate. Then the laminated ones always have too high a density due to the glue and are too heavy. Long story short, the violin will sound bad with laminated plates.
@@Gavrin57 Ah, now I get it. My Russian it's not so good...😅 For spruce top, glued boards (in 2 pieces) are better because they allow you to obtain a more homogeneous and symmetrical arrangement of the grain and fiber on both sides. They could also be used in a single piece, but finding such a large piece with homogeneous characteristics is rather difficult, and even if it were found it would still not be better than a 2-piece board. The same goes for maple, but it is less sensitive to grain variations, so even in a single piece it works well. But I don't think that a single-piece back works better than a two-piece back, they are equivalent. It's just aesthetics.
Buon giorno! Ho un dubbio che forse solo tu mi puoi aiutare! Sono un violinista professionale e sto finendo il mio primo violino grazie ai tuoi video! Non lo so se mi sbaglio pero non ho visto nessun video che spiega come refinire i bordi delle tavole! Qualche consiglio? Un saluto e grazie mille per tutti i consigli fantastici!
Si, il video sull'arrotondamento dei bordi non l'ho ancora fatto, sarà il prossimo😊 Larrotondamento dei bordi è un fattore estetico che determina il carattere che il liutaio vuol dare al suo lavoro e si può fare in diversi modi, l'unico consiglio che posso dare è di guardare più violini possibile per capire cosa ci piace di più. Lo Stradivari Toscano e la viola tenore Medicea del 1690, il Messia 1716 e il Lady Blunt 1721 e sono buoni esempi ben conservati dell'evoluzione dello stile stradivariano (non completamente consumati come nella maggioranza degli strumenti antichi) .
Grazie! Lo faro’! Volevo anche dirti che quest’ estate passero’ per cremona e che spero poterti conoscere personalmente! Ritornero anche per visitare mondomusica a settembre! Un saluto!
@@stefanmarinescu1025 Mandami una e-mail per avvisarmi quando vieni a Cremona che ti so dire se sarò in laboratorio e per metterci d'accordo sul giorno e l'ora per una visita
what happens if i get D# or D on mode 5 but i feel rigid (not flexible) the top, is it most important the tunning than flexibiity i know this is about density, but what do you think about that?
Tap tones and flexibility are closely related, in fact I use the tap tones frequencies as an index of stiffness (along with the weight can give a good index of stiffness). The stiffness that is perceived when flexing with hands is related to the tap tone note, so probably your sensations would take you to a tap tone of C# or C, which would result in a M5 tap tone with bassbar around E or even D#. Although I consider the D# with bassbar too low, some violins have top plate tuned at E (even a few Strad) so it can be done safely if you like.
The acoustic behaviour will be different but it is only possible to guess on the outcome : I think that, with the same arching shape, low plates stiffness softens the sound and tends to darken it, resulting in a free and pleasant sound but probably lacking in cutting power and edge. Stiffer plates go in the opposite direction, but too stiff reach harshness easily.
Moral of the story : tap tones give us only indications to be used in correlation with all the other factors of the violin, but taken alone they can not say much with certainty, because everything depends on the combination of all the factors.
Davide Sora i apreciate a lot your answers, i learn and understand soo much and i think other people interested about topic will be thankfull with you. Thank for take the time for answer us!! 😃
Grazie maestro, saluti dal brasile!
Grazie maestro! Sei unico!
Your method is best among all the makers ❤ from India
thanks, master.
Grazie Maestro!
Being a physicist and a hobby violin player my enthusiasm grows from video to video watching Davide showing his masterful skills, science, and art.
What will you do if the tone is not correct? Some luthiers adjust the resonances with potassium or sodium silicate painted inside the box on certain places or they use some excess casein. At least I read so in a few places.
Trying to correct an unsatisfactory tone with this type of intervention in my experience does not lead to any results, nothing of the kind could remedy inadequate wood properties or a fallacious construction, and it could even make the situation irreversibly worse. All you can do is try to act on the elements of the set-up (bridge, soundpost, strings, tailpiece, pegs, fingerboard) trying to modify them to improve the tone, with the advantage of reversibility. More drastic interventions could be made, such as replacing the bassbar, changing the thicknesses and so on, but if you started with a low-quality wood or you have wrong the arching curves there is not much hope, and in the vast majority of cases it would be only a waste of time. You can't turn a nag into a thoroughbred...😊
@@DavideSora Thank you for your detailed answer. You make very plausible points.
However, new findings show that the "old Masters" Stradivarius and Guarnerius used chemistry to manipulate the properties of the wood they used. www.psi.ch/en/media/our-research/secret-of-stradivarius-violins-revealed
Do these findings match with your informations about this issue?
Another question: If the choice of the pegs influences the violin sound spectrum, is it advisable then to use Wittner pegs which have surely special properties?
@@ghlscitel6714 I know the paper you linked well, I think I have read all the scientific papers on this topic, keeping informed is essential😊 But the scientists tell us what they find, but not how to apply it and where it comes from, for example the salt could be contamination from the sweating of the musicians, and also the chemical elements found could be the result of chemical reactions that took place over time, but the starting materials could be different and in different percentages. Not to mention different studies conducted by different researchers and with different systems, which often also have contradictory outcomes. Furthermore, those of scientists are only guesses based on what they find, but they are the first (if they are serious) to use terms such as "could be", or "our opinion is", but they never offer any certainty or methodological suggestions for the luthier. Their conclusion is always "further studies will be needed for a better understanding" or something like that. Furthermore, I have not yet seen a violin built by these researchers using their theories that even remotely works as a good violin, so it's up to the luthier to take the results of this research with a grain of salt.
@@ghlscitel6714 Regarding the Wittner pegs, their major "defect" is that they are much heavier than the traditional ones. If the perceived weight is not a problem for the violinist, they may be fine. Whether this is a problem for the sound depends on the violin, some may react worse or better to the added weight than others. Making the scroll heavier will affect the harmonic spectrum in the low bending modes, lowering their frequency. Whether this is negative or positive will again depend on the violin, and on the starting frequency of these bending modes. As usual, generalizations do not work in violin making, each instrument is truly a unique case and should be treated as such. For example, in cellos shifting the frequency of these bending modes could eliminate some annoying wolf tones, or create new ones where they weren't. The same goes for violins even if in a less perceptible way, it depends on how refined and demanding the sensitivity of the player is.
Very, very interesting!
🙂
grazie maestro!
Merci beaucoup !!!
Grazie Maestro...!!
Ottimo maestro 🎻🎻🎻
AMAZING!!! Thank you ☺️
Hello Mr Sora
I have a general question about the violin plate tuning and violin body resonance.
If the basis A=440 HZ.
1- What is the best range of M1, M2, M5 for Belly Plate?
2- What is the best range of M1, M2, M5 for Back Plate?
3- What is the best range of A0 ,C2 ,B1- ,B1+ ,A1 for violin body resonance?
4- At the time of Stradivari ,How many Hz was “A” ,440 HZ Or 432 HZ ?
Well, the A 440 Hz doesn't have much to do with the violin modes, precisely because in Stradivari's time it wasn't fixed, and even today it isn't always respected and there are different preferences among violinists and according to the period of the music which is performed. There is not even a real "best range" for the modes, but only personal preferences of the luthiers or depending on the violins taken as a reference, which always have slightly different modes in terms of frequency and relationship between them. You can see my preferences for the M5 free plates in these videos (see the English translation on the description page):
Back Plate:
ruclips.net/video/7W9a3V4TxFQ/видео.html
Top plate:
ruclips.net/video/wa_QCwV5uBw/видео.html
I won't go into all the other free plate modes and those of the finished violin, because it's a fairly complex matter and would require many pages to deal with it, simply indicating an abstract "best range" doesn't make much sense, everything must be considered together with all the others characteristics of each single violin in its uniqueness. Violins are not made by numbers, of course they can be useful for the luthier to address his decisions, but in the end it will be his sensitivity and ability to interpret them based on the material he is working on that will make the difference, since it is perfectly possible to obtain perfect numbers and violins that don't sound good. Lutherie isn't rocket science, it's more complicated😅
But given your nickname "ViolinResearcher", I'm sure you know all the vast scientific literature about modes, sound analysis, modal animations and so on. There are really many studies on the subject, with the most disparate indications of ranges and numbers explained by people more prepared than me to do it.
Davide, thank you for teaching us. Do you have a video that shows desired best flexibility of the top and back plates that we could watch? It would really help to have a visual example we could watch.
Davide, I found it in this video. Thank you!
Thanks a lot !
Grazie, molto interessante! Esiste una ricerca che mostra le differenze di tono tra tavola e fondo nei violini storici? Tu preferisci tenere il modo 5 piu alto sulla tavola? Quali sono le differenze che concorrono ad una maggiore proiezione?
Esistono diversi studi che affrontano l'argomento, a partire dagli anni '60/'70, ma i dati sono ben lontani da ottenere una attendibilità statistica. Infatti per avere i toni di tavola e fondo bisognerebbe smontare gli strumenti, cosa non fattibile. a volte si hanno i dati delle tavole, i fondi è più raro perchè scollarli è un'operazione ben più complessa e rara. Oggi gli studi si stanno concentrando sull'analisi degli strumenti finiti, che sono più fattibili per ovvie ragioni e che sono sicuramente più affidabili che concentrarsi sui toni di tavola e fondo liberi, che non hanno una rilevanza attendibile una volta assemblati nello strumento finito. Puoi seguire questo canale RUclips che riporta molte conferenze trattate da esperti di acustica del violino: www.youtube.com/@oberlinacousticsworkshop9137
Per me il M5 della tavola non deve essere necessariamente più alto del fondo, anche uguale va bene, o anche più basso nel caso che il fondo sia talmente rigido da non riuscire ad abbassarlo più di tanto. Le frequenze da sole sono prive di significato, vanno sempre valutate insieme al peso e agli spessori e contestualizzate nella situazione generale, se si guardano solo le frequenze la possibilità di fare danni è superiore alla possibilità di ottenere benefici. Nessun rapporto o numero magico, mi dispiace, il punto cruciale rimane la nostra esperienza e capacità di combinare i vari fattori in gioco.
La proiezione è la risultante dell'efficienza vibratoria del violino, quinti tutti i fattori legati alla costruzione contribuiscono a crearla. Metterei in primo piano le proprietà dei materiali, senza legno sufficientemente rigido, leggero e con un'alta velocità di trasmissione del suono temo che la proiezione sarà la prima a soffrirne.
For the patterns at 0:49, I'm assuming that the white parts indicate intense patterns of movement, while the darker parts indicate less movement correct?
Quite the contrary: the more marked white parts indicate nodal areas, i.e. where there is no movement, while the dark parts indicate antinodal areas, where the movement is maximum. In this type of analysis (laser interferometry) other white fringes also appear, indicating a progressive increase in mobility (from solid white = steady, to solid black = maximum displacement).
È possibile fare una traduzione in inglese di questo video per favore?
Grazie gentilmente
Is it possible to make an english translation of this video please?
Thank you kindly!
Translation made possible by Google translate!
The English translation is already there, you can find it on the description page below the video, by clicking on "show more" on PCs or on the small arrow to the right of the title on mobile phones
Hello Davide, Excellent video; I'm making a Viola number2 these days, and, I also use this technique of tuning softwares
by cellphone; but I have noticed that the cold, winter, heat, relative humidity, does vary the modes..
Is advisable, is good, to leave the plate finished with a few Hertz above what is intended to be finalized?
Thanks for your video!
Hello Davide Sora blessings for you, i have a question why the back give me lower tomes that the ones tha shoul sone?
What i need to do for ajust it ?
Thank you for allá the knowlege that you share for us.
Greeting from México.
The low tap tone frequencies may depend on various factors, such as the starting properties of the wood (modulus of elasticity, density), on grain and fiber that may not be too straight and regular, and above all on the shape of the arching, which could give too little stiffness. You can't do much to raise the frequencies, you can try putting some casein or glue on the inside, it might raise the M5's frequency a bit, but not that much.
Le frequenze più basse possono dipendere da diversi fattori, come ad esempio le proprietà iniziali del legno (modulo di elasticità, densità), da una possibile venatura e fibra non troppo dritta e regolare, e soprattutto dalla forma della arching, che potrebbe essere troppo poco rigida. Non puoi fare molto per aumentare le frequenze, puoi provare a mettere della caseina o della colla all'interno, potrebbe aumentare un po' la frequenza dell'M5, ma non così tanto.
@@DavideSora And how is possible to measure the elasticity and the density of the wood from the beginning, before starting the top and the bottom?
@@DavideSora And how long is necessary for the drying wood?
Thank you so much for your answer and help.
Bleedings for you.
@@marcojacobo7403 The elasticity is measured with Young's Modulus (E), which is obtained by multiplying the density by the speed of sound squared, divided by 1,000,000. Density is obtained by dividing weight by volume. Another useful wood property to measure is the Radiation Ratio (RR), which is obtained by dividing the speed of sound by the density. They are just numbers, it is not essential to know them to make good violins if you have experience, but they can give some useful indications to try to anticipate the results you can obtain with the material you are using.
@@marcojacobo7403 For the stability of the wood, 4 or 5 years of seasoning are more than enough, but from an acoustic point of view, a longer seasoning would be desirable. For the wood I use for my violins, I consider a wood aging of at least 10 years, and preferably between 15 and 20 years, as ideal. This seasoning is the period that the wood is in my possession, not the one declared by the sellers, which could not always be reliable.😊
Maestro, how is back plate billet quality determined when it is selected? Given the wedges are in different sizes, and at that size it has certain "ringing" sound of course, the pitch cannot be compared because of the different dimensions of each wedge. So what should one look for when selecting back plate material for good sound? 2. And is there a rule for matching the uncarved top and back plate pitch to within a certain range so that the final assembly will be in harmony?
The tap pitch can give you some information if you are able to discern the quality of the pitch, although this requires a lot of experience and is not completely reliable, it can be an element of the whole picture. The higher or lower frequency is only valid for pieces of identical size, and this alone has many limits too. Choosing the wood is fundamentally a matter of experience, from which derives the ability to first of all evaluate the correct direction of the fibers, the correct orientation of the grain with respect to the plane, the evaluation of the consistency of the wood, and the kind of sound it makes when lightly rubbed or scratched. You mainly rely on feeling and to the layman may seem a little voodoo, but the experience is what makes the difference between a long-time professional and a beginner.
Of course, you can instead measure the qualitative parameters of wood such as density, Young's modulus, Poisson's modulus, sound transmission speed, etc. if you have enough time to waste in measurements and calculations to do and the right measurement tools with you, but then you would need some reference values that are not always known and that often go according to the preferences of each luthier. So we are all over again: experience is the key, and comes from comparing your choices when buying a piece and the results you will get from that piece, and the sensations it communicates to you during hand work. It is not possible to be foolproof when choosing wood, "Experience" is simply the name we give our mistakes, as someone said.🙂
Hello Davide! What app are you using? I cannot find an iPhone app that works as yours. Thank you.
I use the Gstring app for Android, unfortunately I don't know the equivalent for Iphone. However, any chromatic tuner that also indicates the frequency may be fine, alternatively there is the spectrum analyzer function of the Audacity free software that also works on Mac, however not as practical as a simple tuner.
Salve Davide! Ho un’altro dubbio....🤦🏻♂️. Prima di incollare la catena dici de applicare uno strato di colla nell’interno della tavola! Non capisco se devo applicare la colla su tutto l’interno o solo sulla superficie dove si collocara la catena... Scusami per il disturbo e ti scrivero presto sull’email per trovare un’altra data per vederci quest’estate! Grazie, stefan
Solo dove andrà incollata la catena
Davide. Buon giorno. Cordiali saluti.
Ho letto spesso che Strad ha accordato il Modo 5 mezzo tono o 1 tono più alto dall'alto dal basso. Vedo che li accordi entrambi su 371 Fa#. ho capito bene? Grazie.
L'accordatura non è così critica, io cerco di mantenere il M5 della tavola e del fondo entro una distanza di un semitono, se riesco a farli uguali va bene ma non è così evidente nel risultato acustico. Per la frequenza cerco di rimanere tra Fa# e Fa, ossia tra circa 370Hz e circa 350Hz.
Degli Stradivari non sappiamo molto per avere un valore statistico affidabile, infatti ci sono un certo numero di valori per la tavola, in quanto è la parte che viene sempre staccata per fare i restauri, mentre il fondo viene staccato molto raramente, e quasi mai contemporaneamente alla tavola. Insomma, avere una tavola e un fondo di uno Stradivari nello stesso momento in modo da poter ricavare le frequenze e il rapporto tra di esse è praticamente molto molto raro se non impossibile.
@@DavideSora grazie mille
Ciao Davide! I'm curious... In the Mode 5, what range of notes would a (400mm) Viola plates produce and wich one is the most desirable? Can I use the same thicknesses measurements from the Violin plates to make a Viola? Thank you so much for your kindness!
Regarding plate thicknesses, a viola top is the same as violins, and the back just a bit thicker, especially in the central part (C bouts and center). As for the M5 notes, the range is from C # to D for the top with bassbar, and from D # to E for the back. I think that the most desirable is the lowest possible, but with small violas it is quite difficult to get to C # without making too thin thicknesses
@@DavideSora Grazie Maestro!
Hi master excuseme I would like to know what we have to achieve by taping the top and the back I mean is there an optimal range of notes for the different modes even an top and back ?
Always keep in mind that the tap tones considered on their own mean nothing about the final sound, they are only indicators of plate stiffness and should always be correlated with other parameters such as weight, arching shape, thicknesses, and material properties. Regarding the various modes, I mainly consider the M5 as an indicator of stiffness because it combines both the longitudinal (predominant) and transversal (partially) stiffness. Even the M2 has certain importance (transversal stiffness), but trying to tune all the modes on a specific target (I can hear 6) I think is a waste of time and in any case so complex as to be useless. I consider all the other modes less decisive but equally useful to observe in their evolution to obtain some more information on the properties of that plate, especially to compare them with those from other violin plates that we have done previously and of which we know the final result (violin sound). Probably every luthier who uses tap tones (please note that not all consider them useful, some consider them completely meaningless...) has his preferences and targets, you can find mine described in these videos (you can find the English translations of the captions in the description below the video):
ruclips.net/video/wa_QCwV5uBw/видео.html
ruclips.net/video/7W9a3V4TxFQ/видео.html
Ótimo
Buon giorno maestro. Video interessantissimo. Volevo chiedere una cosa. Rispetto alla tavola tenuta per i nodi dei modi, la tavola montata risulta vincolata anche sulle fasce; è messa in compressione dai blocchetti; riceve vibrazioni da questi ultimi che le ricevono dal manico e dal bottone (da qui mi viene da pensare che a livello teorico lo strumento montato e con la tavola compressa non debba avere un nodo all'altezza del ponticello). Come sta in relazione questo sistema così complesso (più complesso dei pochi aspetti che ho citato qui) con la vibrazione della tavola (o del fondo) liberi?
Non c'è una vera relazione tra i modi delle tavole libere e quelli del violino finito, che sono decisamente molto più complessi e la cui complessità aumenta all'aumentare della frequenza. Inoltre durante la vibrazione i modi agiscono in modo sovrapposto complicando ulteriormente la situazione. Analizzare le tavole libere a me serve principalmente per capire la rigidità delle tavole nelle varie direzioni (longitudinale, trasversale e torsionale) in relazione al loro peso, fattore che a sua volta influenzerà la rigidità dello strumento finito e di conseguenza le fequenze e le ampiezze dei modi di vibrazione. Ma è necessario legare queste informazioni alla resa effettiva del violino attraverso la prova e l'ascolto tradizionali che rimangono insostituibili, non ci sono macchine o misurazioni che possono predire con certezza il risultato finale. Però ritengo che unite all'esperienza tutte queste informazioni "scientifiche" siano molto utili. Se vuoi farti un'idea della complessità di vibrazione di un violino ti consiglio di consultare questi siti : www.bormanviolins.com/modalanalysis.html
www.schleske.de/en/research/introduction-violin-acoustics/modal-analysis/animation/frame-model-animation/mode-1-f276-hz.html
@@DavideSora Grazie mille maestro. Mi sto attrezzando per costruire una viola per una persona che mi è molto cara e i suoi video sono molto istruttivi. Certo che sarebbe meglio potere seguire dei corsi dei maestri liutai, ma trovandomi nella situazione di non poterne frequentare mi aggiusto alla meglio. Magari alla fine suonerà meglio di un prefabbricato Yamaha o magari peggio, in ogni caso sarà fatta da me.
Parabéns
Hello Master Sora, I hope that you are still well and managed to avoid the virus. Since my last contact with you I have finally arrived at tuning of the plates but as this is my first violin I have come to an obstacle of ignorance. My M5 on the back looks like two slightly inward slanted vertical bars at upper bout and mirrored at the lower bout. Could you please advise me what to do to turn them into the expected opposing rounded shapes. The M5 frequency is 356Hz
Hello Jo, all fine here😊 I wouldn't worry too much about the mode shape, because at that point it could be affected by the mass of the button, especially if you left it too big, and it will be greatly reduced when finished. In any case, the M5 will close forming a ring when you glue the back to the ribs and when you glue the top closing the box, neutralizing the deceptive effect of free edges typical of free plates. However, it could depend on an excessive stiffness and mass of the back, which perhaps could be reduced to improve things. How much does your back weigh?
@@DavideSora Hello Master, I am glad to hear that you are well. Always hoping that this pandemic will come to an end soon and we don't have anymore people becoming ill or worse. Thank you for the speedy reply. Your explanation has given me hope and I can now stop with my procrastination. The weight of the back is 122gm which is much higher than my target of around 90g The belly is now 76g with the f holes and bass bar. The belly M5 is 335Hz and the node shape is nice and symmetrical. I confess that because of this being my first attempt I have not used the recommended Maple and Spruce combimation but used a combination of local wood (Australia) - London Plane for the back (maple family) density 665kg/m3, 9% denser than Maple, and Jacaranda for the belly density 352kg/m3. 3% less dense than spruce. I have used the London Plane for the ribs and the neck as well. I do think that the the wood itself is really nice to look at and has a nice ring. With this first violin I wanted to use these woods to help me learn to carve shape and learn to correct mistakes I make . If the final result will not sound as good as I would like it to sound it will at least be a beautiful sculpture following your teaching. Then maybe later I will be brave enough to get a set of good violin wood and produce something that is a bit better sounding than this first one. God willing that will be my 75ys birthday present. Thank you Master for taking time out to respond to me and to all the others who want to learn. Thank you for sharing your incredible skill and knowledge with us. Pray that life gives you and your family happiness and everything good. You are an exceptional human being.
@@jojuhasz3762 Thank you for your kind words, I'm glad when someone enjoy learning to make violins to get a personal pleasure. Even the choice of trying to use different woods related to your land I think it is a good thing, often for commercial reasons a professional like me has some hesitation to do so, but in ancient times the use of local woods that today would not be highly regarded (local field maple, walnut, pear, poplar, beech, willow and so on) was also quite widespread even among important luthiers such as the Amati and all other famous Cremonese of the time. So have fun and try to make the best of what you use, basically the sound is just an opinion and the characteristics of the wood you are using seem more than adequate to get a violin that will sound good in every respect.
Davide
@@DavideSora Good Morning Master, You are amazing to be able to respond so quickly to your followers. Thank you for your encouraging words. As I wrote to you some time ago making the violin is my life’s ambition. Carving the wood and watching the shape developing gives me great pleasure. I just wish that I started earlier and not left it after retirement. Thank you again and I shall let you know how it all worked out. I will do my absolute best and hope the sound will be at least acceptable. Take care be safe Regards to you and your family with greatest respect Jo Juhasz
Caro Maestro when you glue the back and the top dou you check again the tunning of both?, i tell this because for the angle on the ribs these are affected by a new tension when they are glueded.
I check the back+ribs modes where usually M5 goes down one tone and M2 goes up one tone, this is due to added mass and stiffness from ribs. You can do the same for top if you like (that means ungluing the back and gluing the top) getting probbly the same trend as for back, but in my opinion it is wasted time due to the limited information obtained because, as in free plate tuning, it is still a transitory situation far from real thing (the complete violin with string tension). When you close the sounbox and attach the neck you get a completely new behaviour of the structure and it is quite difficult to predict the new modes of the com'plete violin starting from free plate tuning.
Bowed instrument structure is very complicated, so understand with scientific reliability the effect of such a thing like ribs tapering and consequent top bending is almost science fiction, although in my non-scientific experience I could say that this bending of the top is somewhat negligible as an effect on stiffness, it is more a matter of geometrical arrangement.
Grazie mile😃
Hello Mr Sora,What is the best range for Top Plate M1?
I don't consider the M1 really important, but the range where it usually ends up in the top is around F/F# (more or less 84 to 94 Hz) About the same notes as M5 but two octaves lower.
@@DavideSora Thank you mastro, you are the best teacher for violin makers ,thank you very much.
Very interesting! Where can I get more informations about this subject?
Internet search, some books in violin making, posters and books with measures of Old violins.
ciao maestro, sei super. io ho una doamanda a te, come fa per fare la relazione peso e messa a punto della tavola e dello fondo... hai una ricetta dello peso? grazie, saluti brasiliani...
I do not know if I understand your question correctly, but there is no single recipe for making a back plate or a top plate, because it depends on different factors such as the properties of wood (density, speed of sound, etc.), the characteristics of the arching and the outline model, each of which will have a marked influence on the final outcome. The only recipe is the lowest possible weight with the greatest possible stiffness.
@@DavideSora grazie... io ho capito... grazie dappertutto
Scusa, ho fatto confusione e ho risposto in inglese invece che in italiano, anche se la tua domanda era in italiano.... 😅😅
@@DavideSora ma io ho capito maestro... ringrazio dello mio cuore... a presto
Интересно, как по звучанию отличаются цельные и склеенные деки?
If you mean the difference between solid wood plates and laminate plates (made of plywood), there is no comparison, the laminate ones have a homogeneous structure which gives them equal stiffness in both directions (longitudinal and transversal), while for a violin a longitudinal stiffness is needed that is much greater than the transversal one, which is typical in solid wood, especially for the spruce of the top plate. Then the laminated ones always have too high a density due to the glue and are too heavy. Long story short, the violin will sound bad with laminated plates.
@@DavideSoraя имею ввиду склеенные деки из двух частей (центральная склейка).
@@Gavrin57 Ah, now I get it. My Russian it's not so good...😅
For spruce top, glued boards (in 2 pieces) are better because they allow you to obtain a more homogeneous and symmetrical arrangement of the grain and fiber on both sides. They could also be used in a single piece, but finding such a large piece with homogeneous characteristics is rather difficult, and even if it were found it would still not be better than a 2-piece board. The same goes for maple, but it is less sensitive to grain variations, so even in a single piece it works well. But I don't think that a single-piece back works better than a two-piece back, they are equivalent. It's just aesthetics.
@@DavideSoraбольшое Вам спасибо за ясный ответ!
Buon giorno! Ho un dubbio che forse solo tu mi puoi aiutare! Sono un violinista professionale e sto finendo il mio primo violino grazie ai tuoi video! Non lo so se mi sbaglio pero non ho visto nessun video che spiega come refinire i bordi delle tavole! Qualche consiglio? Un saluto e grazie mille per tutti i consigli fantastici!
Si, il video sull'arrotondamento dei bordi non l'ho ancora fatto, sarà il prossimo😊
Larrotondamento dei bordi è un fattore estetico che determina il carattere che il liutaio vuol dare al suo lavoro e si può fare in diversi modi, l'unico consiglio che posso dare è di guardare più violini possibile per capire cosa ci piace di più. Lo Stradivari Toscano e la viola tenore Medicea del 1690, il Messia 1716 e il Lady Blunt 1721 e sono buoni esempi ben conservati dell'evoluzione dello stile stradivariano (non completamente consumati come nella maggioranza degli strumenti antichi) .
Grazie! Lo faro’! Volevo anche dirti che quest’ estate passero’ per cremona e che spero poterti conoscere personalmente! Ritornero anche per visitare mondomusica a settembre! Un saluto!
@@stefanmarinescu1025 Mandami una e-mail per avvisarmi quando vieni a Cremona che ti so dire se sarò in laboratorio e per metterci d'accordo sul giorno e l'ora per una visita
Davide Sora fatto!! Ti ho mandato un email all’indirizzo che c’e’ sul tuo sito! Grazie!