I have enjoyed your lecture,and my attempt using the information and like drawing; to my improved skill placing f- holes. I am impressed . Bravo ,I am grateful and blessed by your shared research.
As I commented below: If you altered Guaganini's f holes - it would have very little difference in the sound. Sure, if you took away wood it would probably lose some (only *some* ) sound. But ultimately it is just design. I'm sure Guad did this all by eye and measuring, but not with sound in mind. I've worked with great makers and collectors/sellers (even lucky enough to go back to Charles Beare) and a lot of these design choices are aesthetic. The real sound is in thicknessing and tuning of the plates, wood choice, rib height etc.
Hi Charles. This is very much like the work of Joe Regh and Tom King (and earlier Ake Ekwahl (sp?)) on violin outline geometry. This is a very plausible and useful way of consistently aligning the ffs and the palette angles with the Bridge centre. However, I don't understand what you mean when you say that aligning the angles so that the extended line intersects the centre of the bridge "focuses the energy flow" more effectively in his later instruments than his earlier ones. What "energy flow"? If you look at the strad3D project, you can see that the "wings" or palettes are critical to the radiative modes of vibration of the top, but there is no "flow" of anything from the palettes to the bridge centre. If anything, to increase sound production, you might expect them to align with one or the other of the bridge feet...as exciting the centre of the plate under the bridge is not as active a vibrating region and does not add to the "rocking" of the bridge. It seems this, like curate cycloid arches and other alignment geometries are nice shop methods, but that doesn't yet mean there is acoustic science underlying that method. Interested in your thoughts.
the resonant pieces need energy to vibrate. The bow is the tool for. The energyflow must be there were nothing vibrates and be used/turned into airpressue/sound were the wood vibrates, or the energy might also bounce back or get shortcuted. I mean some frequencys don´t want to coorporate. energyflow is without a doubt in the violin, but if the angle of the palette makes a difference, I don´t see that. But it is a Style change. a fingerprint of his new plan to make his violins. Very nice discover.
When a sound appears in space/silence, it seems to sound in every direction it travels. Visually we may refer to it as a circle or ball of sound. This circle may be drawn in plans. Imagine when a sound is squeezed then what shape does it take? The violin shape is the squeezer of the sound and the planes of travel for it to take. Probably it is that which the inventors of the violin had in mind. Hence the plans may be the consideration of that sound should contain and reflect? So listening it being the finest sense to sound brought the blue prints into form? The sound when freed the violin channels the sound. So sound travelling in every direction may be felt as ball of sound symbolised by a circle. So this why in those plans the arch is the common language which facilitates sound and sound planes?
Thank you very much for sharing your deep knowledge of the early Italian violinmakers! So many unknown and anonymous violinmakers yet to be resurged and discovered! 👍🙏
10:03 "so it's missing the bridge". I really just think it is coincidence. I don't think Guadagnini stayed up all night thinking about what it was that he could do to get his violins to sound better. It's possible that he picked up a Strad, A. Guarneri, Amati and thought "hmm... these f holes look lower and slope in this certain way" and so he decided to go that way with his own making. I really don't think he studied science and mathematics the way we can do today. I think he purely stopped trying to design his own violins and went back to a more Strad or Amati-like design/construction.
Hello. I just watched a tutorial by swedish master violin maker Peter Westerlund, were he goes through the steps of making his 400ed violin. inkluding his approch to soundholes!! arching, shaping of the back and front with the pitch (while scratching /tapping the wood) as the all ruling guide line. He also shows how the clarity or intensity of the sound vibration travels up and down the soundboard in a frequence pattern with 5 point of clear sound from bottom to top. At the two central points he will place the two holes of each f-hole. (His violins goes for 15 000 euros or so). Check him out for more details! Fashinating
A very distinct top for a Guad. Is it in four pieces by any chances? Or three (one central piece)? Perhaps just a very huge sudden change in the grain quality and so the wood "soaked" up the varnish and/or ground more easily on the outer sides of the top....? I'm very curious.
Very interesting! BTW, I'm also an old draftsman and have an K&E rule so I recognize what it is and what it means. I think it very interesting that the old drafting skills, and more importantly the drafting mind, learned long ago can play such and important part in this topic.
Have you studied the topology of the "tweeter" region (left of the left f-hole) of this instrument and compared it with a Strad or Amati? I wonder what changes he made, if any, with respect to these earlier masters.
Just thinking outside the box here. On The Mayhew 1779 I think there is a non squared X missing in your drawing. It seems as though you may also draw a line from bridge center to the outmost points of the left and right side convex curves and centered on that line may be the eyes of the ffs. I don't have the drawing to check.
So, if this were applied to an instrument in combination with the information your other F hope video about Stradavari has, what would be the end result?
I think there is no reason why he wouldn't have been able to understand them. Maybe he could not read or write, but he could hear. He could watch them draw the circles, ask questions and they could answer him. I am sure he could then understand thr methods.
I understand that the width of the square is based on the outer extremities if the f hole. What I didn’t get is what the height of the square is based on. You said “the diagonals” but did not elaborate. Can you clarify. Very curious.
No, it's speculation. If you altered Guaganini's f holes - it would have very little difference in the sound. Sure, if you took away wood it would probably lose some (only *some* ) sound. But ultimately it is just design. I'm sure Guad did this all by eye and measuring, but not with sound in mind. I've worked with great sellers/collectors/makers (even lucky enough to go back to Charles Beare) and a lot of these design choices are aesthetic. The real sound is in thicknessing and tuning of the plates, wood choice, rib height etc.
bless you for uploading but I see so many design flaws. it started with video 1 with your 2 halves, then the door form outside, now since you "went back to the drawing board" you still choose the "worst" solution. (I deleted 2 posts in other videos but now you continue to do crappy solutions. so I will post here. (not sure what comes next) seals: wrong, wrong, wrong.... again you chose the least ideal design. (seems nobody has any technical understanding at this project. GUYS!!!!! my dad would have smacked the back of my head if I came with so many shitty solutions. why flat seals? why flat surfaces for the seal area???? must be a cavity for a round seal where the pressure pushes it against a wall. you should have welded a circle "channel" U-shaped and insert a round seal. edit: same for the sqare door. why not a round one? easy to get round seals.
What does Illiteracy have to do with being innovative? And an innovative genius is even more incorrect. Not sure what the video is really about, but the title makes no sense.
His point is education in general,which would include mathematical. These concepts were not new in Guadagnini's time. The point is that he was improving on them in an educated fashion.
