I wonder whether speakers technology applies to violin making? If using MDF or plywood would give a more uniform density, thus making a more balanced sound. I have a feeling matching the tone is only part of the story, the other part might be what kind of tone, and how well the sound is projected across a room. I bet the wood property might dictate the size of the violin too. If the batch of wood used was the same, then the dimensions remains similar, but if a new batch was used, then everything changes. I keep thinking a computer program can probably calculate everything more accurately, if the material used has a fixed density.
Hi Lisa, You may be on an exciting track but I think that the woods used in traditional violin making are used for a reason. Especially spruce has qualities that are fantastic considering speed, weight and strength. After all we try to make instruments that sound like the old masters products. Using strange materials will produce another type of instrument, sounding in a new way. I also try to keep things simple.
@@westerlundsviolinverkstada9892 ok I was totally wrong about speakers and violin, is totally the opposite. Character and projection of the violin, is dictated by every material used on the violin. Incidentally spruce and maple has the opposite vibrational properties, I guess that is why they complement each other so well. To get the best out of the material used, or more specifically to re-created the human singer voice/frequency, be it Tenor, Soprano etc, is dependent on the shape, wood characteristics, placement of the f-holes. In other words, if one thing changes, then everything changes together with it, to get the best out of everything to amplify the required frequency range. Knowing the relationship of each component could potentially create a program that can tell the violin maker all the information required, to build the best violin out of the chosen spruce board. I think a lot of violin makers already know this, and such a program probably already exists , just kept as a trade secret.
I don´t think in terms of each tone being relying in a specific spot. There are so many variables working together. My theories are building on the theses that everything should work as a unit and therefore should be formed not to block the adjacent areas.
Tack Peter, jättebra info, det hjälper mycket att bygga på bra sätt och ha en bra fiol med bra klang...
Thanks Peter. Your videos are appreciated.
Very interesting thank you.
I wonder whether speakers technology applies to violin making? If using MDF or plywood would give a more uniform density, thus making a more balanced sound. I have a feeling matching the tone is only part of the story, the other part might be what kind of tone, and how well the sound is projected across a room. I bet the wood property might dictate the size of the violin too. If the batch of wood used was the same, then the dimensions remains similar, but if a new batch was used, then everything changes. I keep thinking a computer program can probably calculate everything more accurately, if the material used has a fixed density.
Hi Lisa,
You may be on an exciting track but I think that the woods used in traditional violin making are used for a reason. Especially spruce has qualities that are fantastic considering speed, weight and strength.
After all we try to make instruments that sound like the old masters products. Using strange materials will produce another type of instrument, sounding in a new way.
I also try to keep things simple.
@@westerlundsviolinverkstada9892 ok I was totally wrong about speakers and violin, is totally the opposite. Character and projection of the violin, is dictated by every material used on the violin. Incidentally spruce and maple has the opposite vibrational properties, I guess that is why they complement each other so well. To get the best out of the material used, or more specifically to re-created the human singer voice/frequency, be it Tenor, Soprano etc, is dependent on the shape, wood characteristics, placement of the f-holes. In other words, if one thing changes, then everything changes together with it, to get the best out of everything to amplify the required frequency range. Knowing the relationship of each component could potentially create a program that can tell the violin maker all the information required, to build the best violin out of the chosen spruce board. I think a lot of violin makers already know this, and such a program probably already exists , just kept as a trade secret.
Hi
Wich part viola violin is
F# D
Important for me tone B&C
For viola
We're is a area for this tone
I don´t think in terms of each tone being relying in a specific spot. There are so many variables working together. My theories are building on the theses that everything should work as a unit and therefore should be formed not to block the adjacent areas.
Jætte bra!