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Thank you for the presentation!

Please come to the point don't waste our time on Cambridge Harvard Princeton stories.

Excellent information about wood as a material. Thank you, Jim Woodhouse. There were some questions about applying this material in a structure (a violin), combining two species, and so on. I'm neither a structural engineer nor a violin maker, but I found a lot of information about engineering musical instruments with wood in "Contemporary Acoustic Guitar" by Trevor Gore, who as a Phd in engineering from Cambridge. The book will tell you how to calculate the stiffness and shear moduli, how to thickness the top and back, and has a mathematical model of the acoustic guitar as a set of four coupled harmonic oscillators, which will tell you how stiff the top and back should be, the square area of the sound hole, and the interior volume of the body. I don't know if anyone has tried to apply this model to the violin, but it would make an interesting project.

So, as someone who played all my life but has only in the last few years tried to learn more about instruments themselves.... well.... okay, this is a roundabout way of asking a question, but, in some random tutorial on how to use the high pass filter in audacity, one of the samples is violin, and the fellow decides to eliminate bowing noises by moving the high pass filter right over the a0 mode. That particular difference in sound really messed with my perception of what to listen for in violin tone. I don't have studio equipment, but surely there is a collection somewhere online of audio samples corresponding to specific violin spectrograms, either from different violins, or with various manipulations?

Think +/- 3dB (peak to peak 3 6dB) variation across the from 2kHz to 6 K kHz frequency can be heard. 6 dB in amplitude is 3db in energy. Is 2x -not much it is not much. And in signal processing its most likely here the under this bridge model its a small signal linear model. Possibly once the violin is played hard buy the player its violin body elasticity changed with more resistant, and the bridge effect will be reduced. Violin body will be the dominant thing. But with light or 300 years old violins, this effect could less. Everything could be more loser to linear model. That means more room to be adjusted and predictable. From this point of view I like the ' light violin ' ideas.

Common mode can resonate with the back plate that enhance the high frequencies - my view. Left to tight rocking differential mode is the main mode and the strongest energy stimulated from the violin bow.

In my electronic engineering language, w call them differential mode and common mode.

Thank you for the presentation. Allow me to make a few observations as both a physicist and a violin maker: The presentation does not show the frequency dependence of the bridge's transmission independently of the violin body. The bridge has minimal influence on the frequency response of the violin body. The forces exerted by the strings on the bridge are depicted incorrectly. When playing the violin, the string does not oscillate in a single plane but rotates, performing elliptical movements. The experiment with piezoelectric sensors under each string is invalid because the cables connected to the sensors are attached to the bridge, altering its mass and, consequently, its frequency characteristics. High-quality Italian instruments are characterized by a good response at low frequencies, where, according to your research, bridge modifications have almost no effect on the sound and are therefore determined by the body construction. The difference between the bass foot and the treble side when playing on the G string arises because the distance from the point of vibration to the mass changes, affecting the momentum. In my observations, studying only the bridge makes little sense without adjusting the positioning and fitting of other violin elements that directly interact with the sound post and bass bar. Your research confirms the observations published in Physics World (April 2000) in the article "Science and the Stradivarius," without adding anything new. Your bridge model includes only five parameters, whereas a real bridge has at least 7-9 points where wood can be removed to alter its properties. Unfortunately, you do not provide such information. On a low-quality violin with few overtones, modifying the bridge will have no effect on the instrument's frequency characteristics because the violin simply cannot reproduce them. On a high-quality violin, the difference in overtones becomes noticeable when the bridge is modified. Conclusion: While the bridge plays a certain role in influencing a violin's sound, a poor-quality violin cannot be improved solely by modifying the bridge. Therefore, the practical utility of this research is questionable. The violin's body construction, setup, and varnishing have a significant impact on its sound. As such, studying the bridge's frequency characteristics appears to be a distraction from a more relevant subject.

Great to stumble upon this, looking forward to more results as they come

On the subject of arch deformation at around 35mins in, has anyone looked at the grain runout in classic violins? It seems like it would be doable to confirm whether or not the there has been distortion in the tops by looking at the amount of grain runout under a microscope. Or maybe measuring the area that reflect back to a stationary camera with a light source at varying angles with the same goal of measuring runout along the arch. Thanks for posting these discussions. They're very informative.

Thoroughly fastenating gentlemen. Im still very confused with the graph data presented. If you will follow David Solas work in Cremona, follow his bridge carving formulas to the letter i can almost guarantee a bridge with superior performance. I have started bridge carving from commercial blanks and have learned atremendous amount of sonic knowledge with just vernier calipers and exacto knives. The thicnesses and dimensions he uses are critical to good violin bridge performance. I was surprised. For.instance the thickness of the bridge feet must be no more than 4.5 mm each. Anthing thicker and the violin wil lose resposiveness. If on the other hand you wish to discuss hammering at your violins bridge location on the top plate surely you will eventually succeed in cracking your top plate. Spruce is extemely susseptible to splitting; almost as much as cedar. Suggest comparing notes with Carleen Hutchins or successor. If you want a violin that plays well suggest follow the teachings of Mr. Davin Sola in Cremona. I have followed his vidios and am glad i did so. Thank you gentlemen.

I already thought of making similar measurements. My congratulations to your interesting results. The challenges arising with the appropriate modeling kept me hesitating to step deeper into it. I will follow your channel to stay updated and learn.

Are you aware of the violin research in Sweden? www.speech.kth.se/music/acviguit4/part7.pdf

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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!

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.

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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 th-cam.com/video/xicuPwr9GBI/w-d-xo.html