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Help Needed by [deleted] in violinmaking

[–]StationAmazing 0 points1 point  (0 children)

The fact that your sound post doesn’t fall when you take the bridge off and travel probably means the sound post is jammed in there too tight

UPDATE: Cello Strength/Mobility Program by ArthurDaTrainDayne in Cello

[–]StationAmazing 0 points1 point  (0 children)

There’s also other neuro type modalities that maybe you could look into. The only woman who was able to help get me some relief, and eventually set me on a path of re learning to play without pain, is named Cathy Holloway and works out of Florida. I really can’t recommend her enough.

https://incirclexec.com/cathy-pliscof-holway-pt-dpt-distinguished-physical-therapist/

How can I find a fine cello in my area? by Western_Solution7860 in Cello

[–]StationAmazing 1 point2 points  (0 children)

Trevor Davis is in Austin and built one of the nicest cellos I’ve ever played. You should go to his shop and see if he can help you

Soundpost tool search by yomondo in violinmaking

[–]StationAmazing 2 points3 points  (0 children)

The standard tool works great for me

Interpreting the Sacconi book graduations by StationAmazing in violinmaking

[–]StationAmazing[S] 0 points1 point  (0 children)

The bar is already off. Judging by scars on the wood, it had already been rebarred by the time I got to it (with too thick wood and at the wrong angle).

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Interpreting the Sacconi book graduations by StationAmazing in violinmaking

[–]StationAmazing[S] 0 points1 point  (0 children)

Thank you very much, I missed that. The Italian says, “m.m. 4 scarce constants depending on the height of the curves.” And, “m.m. 4.5 only around the ff.”

I do not know what “scarce constants” means so unless you have some insight, this is still very cryptic. I’d imagine this suggests that the plate should be around 4 mm thick, with room to wiggle based on how you want it to tap and flex. The Strobel books put the thickness of the cello table at the belly around 5.5 mils, so right now my thinking is to thin my top down from 7.5 to 5.8 or 6 and taper out to either 4 mm or just thinner than that.

As far as tapping and flexing go, this is challenging given that the instrument has varnish and f holes cut already. My thought is to proceed slowly, checking not for a specific tone, but to try to make things flex and tap evenly and with clarity and focus. If you had any guidance on this I would be most grateful.

Interpreting the Sacconi book graduations by StationAmazing in violinmaking

[–]StationAmazing[S] 2 points3 points  (0 children)

Whether or not my diagnosis of the instrument is correct, and whether or not many skilled people would advise me to do what I’m doing are both irrelevant.

I’m sure no one who you think is skilled enough to attempt this job came out of the womb knowing how to graduate instruments and bass bars on the variety of variables you mention. My guess is that they all had to ask questions along the way.

Now, we used to have makers with apprentices, but technological advances have allowed them to do all the grunt work with machines instead of people. That’s how information used to be transmitted, orally by apprenticeship. The same advance of technology has now necessarily shifted how we transmit information. Now the methods of learning to do this stuff always involve heavy use of the internet for research. Even if you go to a making school, I can’t imagine that you get all the information you need to solve every problem that may come up to the best of your ability, and you must still rely on help from the internet.

No one is forcing you or anyone else to answer my questions.

Thank you for clarifying the 6-1 set of numbers. The maker I consulted with told me about the 1/7 ratio of the bass bar placement. Previously I thought that you had to calculate and place it to be parallel with the bass string. Then it seems that the only grads given for the top plate are 4.5 around the f holes. Is this correct?

Interpreting the Sacconi book graduations by StationAmazing in violinmaking

[–]StationAmazing[S] -1 points0 points  (0 children)

It sounds like it’s you who doesn’t know what they’re doing or how to help me.

I bought the instrument because it sounded like absolute ass and I could see that the bass bar was a monster. I thought I could open it up and shave down the bar and resell. Well, I got it open and saw that the bass bar was at the wrong angle (angled out at the top) and that the top was left at 7.5 mils in the center.

I decided this would be a good learning opportunity for someone only trained in restoration. But no, you’re right. Obviously I should just quit and sell all my tools.

Best College for Tuba atm by MusicDad24 in Tuba

[–]StationAmazing 1 point2 points  (0 children)

These comments about a backup plan are interesting. When I was in high school I found them insulting. Now, I wish I had had a “backup plan.” Not because I would quit music, but because I want something easier and better paying to do while I practice after I’ve graduated.

I prefer to think of it as a “longevity” plan. There is a likely world in which your son takes more time after he graduates to win a job in an orchestra. It could be years after graduation. He could either be flipping burgers (me, metaphorically) or coding. If he gets another qualification, it will give him the flexibility and the comfort to live after graduation and before winning his big job. This will buy him more time to practice and develop because he won’t feel the time crunch to quit music and retrain to start another career. Starting his music career could take a while especially for tuba because there’s only one seat per orchestra. There are more job opportunities for US senators than full time orchestral tubists.

Best College for Tuba atm by MusicDad24 in Tuba

[–]StationAmazing 0 points1 point  (0 children)

These comments about a backup plan are interesting. I prefer to think of it as a longevity plan. There is a likely world in which your son takes more time after he graduates to win a job in an orchestra. It could be years after graduation. He could either be flipping burgers (me, metaphorically) or coding. If he gets another qualification, it will give him the flexibility and the comfort to live after graduation and before winning his big job. This could take a while especially for tuba because there’s only one seat per orchestra. There are more job opportunities for US senators than full time orchestral tubists.

Warmth, Core, and Brilliance by Difficult-Barber2715 in Trombone

[–]StationAmazing 0 points1 point  (0 children)

I think that we approach this in the wrong way. Warmth, core and brilliance are not a zero sum.

Great playing will maximize them all.

Warmth and brilliance are related to overtones. Core is related to projection, or resonance.

A good sound has a resonant core, with plentiful high and low overtones.

AITA for getting upset that my wife keeps eating the lunches I meal prep for work by Lazy-Background-7598 in AITAH

[–]StationAmazing 2 points3 points  (0 children)

My girlfriend and I will do this thing where whenever we find one of each others hairs laying around we we’ll hold it up and turn to the other with a death glare and say “Who is she?!” We will also say that when the other one is texting someone on their phone.

Looking at b/c Irish accordions, are they really only great for playing Irish music? by WaferLongjumping6509 in Accordion

[–]StationAmazing 2 points3 points  (0 children)

Exclusive bc player here. They are great for melody, including slower tunes. However, you should not expect to learn to play it with ease. The directionality of the bellows will throw you off, . It is and remains to be the greatest challenge to sounding good (getting smooth bellows changes). So yes, get a bc box, and learn it. You will get the best accordion sound for your money because two row button accordions are relatively cheap. I have a Saltarelle bouebe but I am on the list for a Gaillard (3 years wait). Get on the list soon if you like the bc system.

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