I was wondering about this, so thank you for your thoughts! I’m trying your technique for making a top and I am liking it so far. How did you discover this technique? It speaks to me and feels right as the method that would have been done originally. I’m curious to know how you found it or how it came to you. Thank you so much for sharing your methods for free
There was a man in Gothemburg named Gunnar Sanborn who spread theories like this. First I was very much against it but decided to try it in my way. It is only the rubbing/listening part that I caught. I am not familiar with where he brought it but what I do now is very far from what I grasped him doing in the beginning. Then I have widened the concept by asking myself why the old violins look like they do, especially with all the peculiarities they show. I have then found credible explanations and by this I have expanded "the Method".
Makes absolute sense to me. To me not tuning the plates and bridge as you do is, like a person making a violin to perfect measurement and stringing up, saying, oh the strings feel tight enough and leave it. The strings will not be in tune. They must be tuned as the plates and bridge must. A violin is not a sculpture. It is a device that makes audio frequencies. It must be tuned. Thank you for sharing your knowledge.
Maybe the front doesn't get the pinhole step since it is dealing with more constraining points (bridge feet, sound post), as opposed to the back being more of a pure sound diaphragm eminating from the the one sound post. The related test for the front might actually be placing it face down on bridge feet shapes while the maker presses a soundpost on it from above. If something like this would result in the "strad points" it sure would be interesting!
I was wondering about this, so thank you for your thoughts!
I’m trying your technique for making a top and I am liking it so far.
How did you discover this technique? It speaks to me and feels right as the method that would have been done originally. I’m curious to know how you found it or how it came to you.
Thank you so much for sharing your methods for free
There was a man in Gothemburg named Gunnar Sanborn who spread theories like this. First I was very much against it but decided to try it in my way. It is only the rubbing/listening part that I caught. I am not familiar with where he brought it but what I do now is very far from what I grasped him doing in the beginning. Then I have widened the concept by asking myself why the old violins look like they do, especially with all the peculiarities they show. I have then found credible explanations and by this I have expanded "the Method".
Makes absolute sense to me. To me not tuning the plates and bridge as you do is, like a person making a violin to perfect measurement and stringing up, saying, oh the strings feel tight enough and leave it. The strings will not be in tune. They must be tuned as the plates and bridge must. A violin is not a sculpture. It is a device that makes audio frequencies. It must be tuned.
Thank you for sharing your knowledge.
Maybe the front doesn't get the pinhole step since it is dealing with more constraining points (bridge feet, sound post), as opposed to the back being more of a pure sound diaphragm eminating from the the one sound post. The related test for the front might actually be placing it face down on bridge feet shapes while the maker presses a soundpost on it from above. If something like this would result in the "strad points" it sure would be interesting!