How do you make a golden violin? You add fourteen carrots.

Your models are based off guitar technology. Guitar is a science, violin is closer to alchemy.

You can't copy an instant through science, it's called an art for a reason.

Easier to explain what most luthiiers know then don't. The bridge works like an equalizer for the violin. How well the feet fit is the wire connecting it to the pre amp and amplifier, or violin body. Every cut on the bridge can affect the sound in many ways. Would be willing to explain what I learned studying bridges over the last 11 years. Took us 20 to make a bridge equil to for antique, if not better for modern instruments, than Hill and Sons. Every cut changes the tone in a different way. Knowing which cut does what is the key.

Thank you for sharing this presentation. Since I started playing violin I'm sad that I studied chemistry instead of physics, haha

Will not the addition of a strip of ivory significantly boost the high frequency of the E string?

Thank you gentlemen! Thoroughly riveting! Look forward to more as you are able.

What a remarkable gift to society to have these insights publicly available. God bless you for releasing this! 🙏❤️

Professor, do you know the bowed musical instrument - erhu, a kind of two-stringed instrument, it has a tiny bridge on the skin center, and the horsehair bow plays the strings from a crossing angle on the resonator, we find the acoustic sound changes from a lower frequency to high, the volume are not balanced, on other words, the high-frequency similar muted, I hopefully want to learn the principle, why? It's different from the drum, but it has a drum-like resonator, but the bridge on the center and two strings over the bridge produce pressure, similar to stopping the skin vibration. If you want to learn more about the musical instrument, I could take a short video. Thanks!

For me it is very important to get an undestanding how the instrument is supported being able showing movement on the bridge that is in downward direction. The whole instrument thus is in downward laod condition. Whrere is the support? EXPLAIN. otherwise all is wrong

Sorry -- but at least for me it did not work at all -- this 5 min of listening time (between appr. 39:30-44:50 ) were just dead silent 😆🤣

Robins sentence about Cellos with a great A-String which are never a problem in contrast to Cellos with a not so favorable A-String remind me of a famous pianist , who said about students or promising players who were in the process of development : a player with a great forte is rather the one who will make it`s way than a player with rather a good piano and not so great Forte !

so creating a transient vibration of the drumhead by combining modal vibration is something like creating a waveform with a combination of sine waves?

Interesting study. I'm trying to learn what you all seem to take for granted! I wish you had viewed the modes of both plates, compared their mode 5 frequency relationship, and checked mode 5 on top plate at each change of the bass bar. If the whole violin is optimized at each bass bar shape, is the final frequency response and overall sound/playability still changed in the same way?

Catching up on the online seminars I missed. Great pannel and discussions. Can't wait to program Martin Schleske's method of cycloids subtraction into Excel. I wish I could share my method of plotting the longitudinal arch with the group. Check out the paper about it in the 2023 online edition of the VSA papers.

Respect for Spruce eh? After a day splitting and sawing hardwood logs I think grain has my brain!

my mornings will get so much better after this

Fascinating..

All things being equal (playability, overtones, brightness, darkness, responsiveness, colors) if there are two the same in the above, but one is 25% “louder”, the soloist will take louder.

You seem to be testing strings not break angle. Modify break angle while utilizing string sets that stay at the same tension throughout the test of angle.

Great discussion! Thank you!

Just worked on a Curtain violin built 6 years ago. The top is collapsing under the tensions of the bridge and the f hole has collapsed 2 mil. Can't be corrected with a taller post. Good ideas , but definitely won't last 50 yrs, less 300. Your $50000 sounds like a $2000 dollar violin now. Not giving anything without recognition. But, we at least made it better with a taller post and probably made bridge. Check your older instruments out to see potential faults.

As always quality time to listen. I am making archtop guitars. I am steaming guitar top and back 5mm wood blanks to bend them with wedges according to Helen Michetschläger, British violin and violas maker method. After glueing halves I carve the wood to final graduation. After listening to you I will not hesitate to prolong the steaming as Helen suggested not to steam longer than half an hour. I have steam bent as well torrefacted wood and got cracks, so maybe prolonged steaming and careful wedging will do the work. Interesting fact about heat processed spruce - it is much less transparent to light compering not processed wood.

👍

Thanks guys!

Most greatful!

Thank you gentlemen, most interesting. Would a few layers of electrical tape suffice to make a noticeable change?

35:30 As it turns out Modern Violin string tensions are lower than they used to be when they were Gut Strings. In fact the string tension has Dropped over the years to maximize playability.

Actually some Classical Guitar players prefer using a Wound G String cause it acts as a "Transitional String".

We know more about full size violins, but what with children instruments? Where I can read something about their signature modes ? Thanks

🍀 PЯӨMӨƧM

More, please!

This has been a most informative discussion. Thanks to each of the speakers with all respect.

I just saw myself in the background of that Oberlin pic from 2004, along with Oliver Radtke. Good times!

A very golod and informative presentation. The discussion was also interesting, I think. Many thanks!

Really helpful! Thank you 💗

Unusual violin shape and unusual violin material Folk violin4/4 - Huur made from the plastic of an old TV ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-xicuPwr9GBI.html

These men are absolute masters. Incredible.

34:42 As it turns out the tension of strings has Dropped over the years

There are Pianos that can play both lower & higher than our current 88 Key Pianos, the Belura from Stuart & Sons, the Belura has a 9 Octave Range from C0 to B8 which is the same as most Pipe Organs.

Can you downlod in your website as a PDF or PPT , thanks 🌹

Wound G Strings for Classical Guitar are gaining in Popularity too because it sounds less tubby.

There are Acoustic Bass Guitar Strings which are made that way too

19:09 The Development of High Strength steel wire allowed us to make the lowest strings slightly heavier w/o overincreasing the thickness but just enough w/ more wrap wires. The Low B string for a 5 String Upright Bass I believe has 6 (maybe 7 or more) Windings if we for example take a Helicore Orchestral Low B in 3/4 Size Medium Tension.

We always wind strings so that they're easier to make a good sound on

Timestamps of slides 2:50 Wolf Demonstration on cello Helmholtz Motion 3:34 Helmholtz Motion 4:23 Explanation of slip-stick motion 5:11 Waveform Schelleng's Diagram 6:06 Schelleng's Diagram 7:52 Explanation of regions 9:27 Measured waveforms of the three regions 11:31 Boundary line of regions 12:50 Max boundary doesn't care 13:30 Min boundary depends on body motion Double-slipping 14:16 Wolf double-slipping (velocity of string & body diagram) 15:05 Alternating between Helmholtz motion & double-slipping 16:05 How does the wolf work? Schelleng's Diagram related to body motion 17:20 Double-slip detail (phase) Identifying wolf from frequency response 19:50 Can we measure it? 20:00 Impact hammer + laser measurement 20:37 Cello frequency response 21:33 Minimum bow force per note 22:25 Each string is plotted (heaviest string scale curve up) Tuned-mass dampers 24:05 Taming the wolf 24:50 Various tricks add damping, typically over entire range 25:32 Targeted fix: Tuned-mass damper 26:16 Millennium Bridge 26:50 Millennium Bridge's wolf eliminator! 27:25 Add resonator tuned to the same frequency, then damp it 29:34 Archery TMD example 34:23 Cello TMD 37:07 Adjust body mechanics (Gluey) 43:00 Q&A

ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-qEP6qq_toZ4.html

Thank you so much Jim for this excellent presentation. With a few years of research and development into instruments, bridges, strings but most of all bows maybe I am qualified to propose that you may include more bow "things" into your work. I firmly believe that quite some white patches in your models and theories can be colored by introducing the effects of the bow. (Which will still leave us with the rosin problem, I know). Maybe you have proven the importance of the bow in your talk by yourself when you mentioned that plucked instruments are understood so much better than bowed instruments. And how could that be if not because of major effects of the bow itself? (...and the rosin, of course.) In my understanding the stick/slip effect is much more complex that you have presented at the beginning of your talk at 05:00. I have tried to work through that in a video (see the link below). And a resounding yes to your question in reply to Chris Dungey if bows are different. They absolutely are! They have a huge influence on both the sound and the playability. If you would like to experience that for yourself I would be very happy to provide you with a set of 5 bows (T9, T6, T3, S6, M6 for example) which differ significantly in their tuning and in their resonance quality (damping). One way to understand their immense influence is when you play different bows on electric violins, which is by the way almost identical to the pure Helmholz vibration that you play early in your presentation at 04:00.

Thanks for sharing !