Of course, Free plate tuning is about "plates" not completed instruments. While I have not made a complete instrument with this method I have used it when making new tops and fitting new bass bars both on new tops and replacements for old ones. I was shown how to do this years ago by one of my friends at the Hammond Ashley shop in Seattle. The late [Invalid or Expired Link Removed] was one of the founding members of the Catgut Acoustical Society and used free plate tuning on many if not all of his new basses. He also built instruments for the New Violin Family Octet.
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Double Bass bass top Chladni patterns
- Thread starter Don Harris
- Start date
I don't use any kind of sealer on the inside of any instruments simply because I fear (real or otherwise)that it may interfere with the adherence of cleats, patches, or bass bars should such repairs be needed in the future. Nothing scientific about my decision not to use it, just fear.... I had a cello come into my shop once that had been treated with something (don't know what it was) inside and I had lots of trouble getting glue to stick to it. I have used albumin underneath varnish, but I don't think I would want it on the inside.
Not that this is particularly relevant to the mode analysis, but one string shop dealer here told me that one of his violin suppliers has taken the top off of instruments as many as six times over a 3 month period to tweak the graduations before varnishing. That seems to indicate that some things just can't be anticipated before it is all put together. Still, I think what Don has shown here is very useful if we don't try to read too much into it. Thanks for the effort, the photos, and the explanations of your method.
In general my intuition would be that smooth transitions are probably better, although I can't back it up. It is interesting that Mario Lamarre is using "faceted" graduations based upon the actual Chladni pattern shapes from some of the modes. His transitional regions actually have visible "corners" that can be seen on the tops of some of his instruments.
In general my intuition would be that smooth transitions are probably better, although I can't back it up. It is interesting that Mario Lamarre is using "faceted" graduations based upon the actual Chladni pattern shapes from some of the modes. His transitional regions actually have visible "corners" that can be seen on the tops of some of his instruments.
That's a depressing thought. I just want to glue it up, varnish it, set it up and have it sound amazing.
I know some violin makers who are pretty anal about this stuff, but 6 times in 3 months sounds rather absurd to me especially if it is coming from a supplier who is wholesaling to a retail shop rather than a maker who is selling direct. Maybe it was just a bad fiddle and the maker was trying to salvage it - it does happen. However, even if the story is true, it's not really a big deal on a violin. I can pop the top on a violin in under 5 minutes and put it back on in less that 30 minutes. On the other hand, I've read about makers as far back as the Cremona classic period who would assemble the violins and then do "final" graduation on the outside.
While I've never heard of it (until now) being done on the outside, I was wondering about that possibility. The story was told to me by Emile (Bill) Baran, and it is possible that he might have exaggerated. He has been in the string business here in Decatur (sometimes considered an Atlanta suburb) for many years and has instruments of all quality levels. This maker, he maintained, was one of the best.
- Nov 6, 2007
- 152
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- 55
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- humble instrument maker
I think among some instrument makers it is a little more common than is talked about. Taking instruments apart to finalize tone, that is.After all, any little advantage that can be gained, helps create the best possible instrument, and reputation.
The maker who built the cello that Jackie Du Pre's played in her final years, said that he had the cello apart five or six times to make sure every thing was as good as it can be. She fell in love with it instantly. And stoped playing her Strad. So I guess in that case it was worth it.Can't remember his name right now, so I apologise. There is a saying floating around that goes that with weiners and violins, it's best not to know too much about how they are made. That sorta fits here. It sounds bad that some makers tinker for a long time with their creations, but in the end,,,,,,,
The maker who built the cello that Jackie Du Pre's played in her final years, said that he had the cello apart five or six times to make sure every thing was as good as it can be. She fell in love with it instantly. And stoped playing her Strad. So I guess in that case it was worth it.Can't remember his name right now, so I apologise. There is a saying floating around that goes that with weiners and violins, it's best not to know too much about how they are made. That sorta fits here. It sounds bad that some makers tinker for a long time with their creations, but in the end,,,,,,,
I'm sure what Darren is saying is 100% true when you are talking about instruments being custom made for direct sale by the maker to an artist. However, when a maker is producing instruments for outside distribution (i.e. wholesale) or even consignment to retail string stores, I just don't see how the maker can afford to invest that much time on one instrument. They have to pay the bills and probably have a wife and children just like the rest of us. I operated a violin shop for about 10 years and I would be willing to wager that none of the many violins I sold (bought wholesale from makers and dirstributors) had that much of the maker's time invested in them. If this were common practice, IMO the maker would soon be looking for another profession or not care much about his or her standard of living.
I see your point here Bob, but let's remember Emile was most likely talking about the 50's, 60's, or even late 40's when things were a bit different. I didn't mean to imply it was a common practice. On the contrary, I think Emile brought it up to differentiate that maker from the large output shops that just slap 'em together and ship them. It was a maker in northern Italy, by the way, and he mentioned no name. Consider that at the time there was no internet, no reputations built on forums, and travel to Europe to try out a new violin was cost prohibitive for all but the highest paid professionals;- different times. I suppose the Pollmann shop could sell everything directly themselves also, but these are distributed to Lemur and Baran's also has those now and again.
I know EBG's are a different story of sorts, but consider that Jens Ritter could sell everything directly (he still makes less than 50/year) but also sells through Atlanta Bass Gallery (where I bought mine) and other retailers, as does Ken Smith, Fodera, Eshenbaugh, and a host of other makers who have very limited production numbers. Not everyone's cost of doing business is the same, either. Contrast the steep costs of a business license in the City of Atlanta, minimum $75/year plus a percentage of the gross sales;- not like a tax on profits, with the $25 / year business license fee in a rural Georgia town like with no percentage collected on gross. Just food for thought.
Quite true, but it all evens out in the wash. Bigger cities give you a greater potential customer base to sell to and you should make up any additional fees and expenses with more gross sales. Besides, business expenses are deductable on your tax return.
That's a depressing thought. I just want to glue it up, varnish it, set it up and have it sound amazing.
glue it up,varnish it,set it up,and it WILL sound amazing
it's a double bass!
