Thanks again for your recent videos, Peter, which keeps me "in tune" with the theme and motivated to keep on training this way, that makes sense to me. May I ask you for further videos showing the concept of the F-holes: your way of placing, installing the length, cutting.... considering the tap/scatch concept. There should be an answer, why guarneri used so different forms, lengths and positions. I am sure you have your thoughts about this theme.
So how do you determine the thickness of the bridge? At the feet for example where is the thickest point. Do you compare the tone of the front to the back side where it's vertical or do you go for a specific thickness always? 4.2 for example
You have found the front of research! So far I have used a bridge that I know is good and thinned the bridge down to that pitch. Maybe there is a pitch in the top that could be a guide but I do not know yet what to aim for.
The top plate of each violin is unique in its curvature. The fingerboard of each violin is at an individual angle to the top plate. Due to at least these factors, the violin maker does not only sell the raw piece of the bridge, but he also needs the individual violin on his desk, for which he composes and modifies the bridge individually. The violin maker takes responsibility for tuning a bridge from the raw piece that best serves the sound of your violin. As a guarantee of that, the violin maker always puts his own stamp on every bridge he installs. Therefore, only a bridge made by a professional violin maker is acceptable. btw To avoid untimely failure of the bridge, note this: When tuning the strings of your violin, you should periodically check that the angle of the back of the bridge to the top of the violin has remained the same as it was originally. When tightening the strings, of course, the upper part of the bridge also tends to move with the strings towards the fingerboard, even though the friction between the strings and the bridge is reduced with graphite. If you do not correct this phenomenon often enough, the bridge becomes curved and then it no longer functions optimally. Eventually, the arched bridge fails, and you have to build a new bridge again.
Great video, is fascinating how the sound can improve.
Peter; Wonderful insight! I will use it also... David L.
Thanks!
Thanks again for your recent videos, Peter, which keeps me "in tune" with the theme and motivated to keep on training this way, that makes sense to me.
May I ask you for further videos showing the concept of the F-holes: your way of placing, installing the length, cutting.... considering the tap/scatch concept. There should be an answer, why guarneri used so different forms, lengths and positions. I am sure you have your thoughts about this theme.
Have you looked into # 84?
So how do you determine the thickness of the bridge? At the feet for example where is the thickest point. Do you compare the tone of the front to the back side where it's vertical or do you go for a specific thickness always? 4.2 for example
You have found the front of research! So far I have used a bridge that I know is good and thinned the bridge down to that pitch. Maybe there is a pitch in the top that could be a guide but I do not know yet what to aim for.
@@westerlundsviolinverkstada9892 I hope you will find the answer:). Do you chose the bridge blanc with the Lucci Meter?
@@adelkharisov No, it is too short a distance. I choose them by how rigid they are as well as how the years and medulary rays show.
It is not easy to see the spots you are working. You can put the bridge on a paper, show us the spots, and then take again the bridge to work on it.
I know that I missed that. Sorry. You can find out how to do it by taking as small shavings as possible and try.
Can you sell me such a bridge?
Sorry, -No. Every bridge is a tailor made part of a specific violin.
The top plate of each violin is unique in its curvature. The fingerboard of each violin is at an individual angle to the top plate. Due to at least these factors, the violin maker does not only sell the raw piece of the bridge, but he also needs the individual violin on his desk, for which he composes and modifies the bridge individually. The violin maker takes responsibility for tuning a bridge from the raw piece that best serves the sound of your violin. As a guarantee of that, the violin maker always puts his own stamp on every bridge he installs. Therefore, only a bridge made by a professional violin maker is acceptable.
btw To avoid untimely failure of the bridge, note this: When tuning the strings of your violin, you should periodically check that the angle of the back of the bridge to the top of the violin has remained the same as it was originally. When tightening the strings, of course, the upper part of the bridge also tends to move with the strings towards the fingerboard, even though the friction between the strings and the bridge is reduced with graphite. If you do not correct this phenomenon often enough, the bridge becomes curved and then it no longer functions optimally. Eventually, the arched bridge fails, and you have to build a new bridge again.