Mudcat Café message #3425902 The Mudcat Café TM
Thread #147736   Message #3425902
Posted By: Donuel
25-Oct-12 - 12:11 PM
Thread Name: BS: Below the Line... Musicians or not???
Subject: RE: BS: Below the Line... Musicians or not???
cello,gamba,mandolin, bass and the vertical violin and viola.

I used to play the French Horn but a lip disection from a 9 iron ended that.

I also play the zither and auto harp with Debussy like tonalities.
I found that a resonant "sound box" table, bathtub, or by placing the harp atop a marimba resonant chamber can more than double the sound of the tiny harps.

While I have a keyboard and tonal percussion instruments the difficulty I have encountered trying to play them my whole life
long might somehow be connected to dyslexic challenges.

octave violins sound great. Have you heard willie and lobo and other latin groups use them with profound effect?


Hey bearded one, How about a "flute cello". First you drill the neck close to the finger board to create a recorder. The Whistle segment is in the pegbox behind the nut and the finger holes are between the D and G string right through the ebony. The bottom of the tenor recorder exits under the finger board. You blow in a clear poly vinyl tube that connects under the scroll near the nut.

I've also transformed 4 string to 5 string violins and altered normal violins to octave violins. Mostly I have unique inventions for enhancing the sound of string instruments by using ultra low density materials strategicly and by maximizing the lateral plate vibration by tuning the bass side edge thin and altering the stiffness of the bass bar progressively. Some of what I learded from the Vuillume French school and an Italian family from the 20th century is respondsible for doubling the power of sound but the rest came from my own analysis of the rocking directions of the top plate, the physics of sound conduction regarding frequency vs density of the carrier material and the importance of the center bouts.


Warning free advice ahead...


Without getting into new 21st century materials the best way to go is with a top plate of low density wide grained "microscopically hollow" but stiff wood, free to move more on the bass side and less on the treble side.   The back plate is best when very stiff to focus sound like a radio telescope or a speaker cabinet, and the ribs thin enough to release all the frequencies that the top can not. Of course tuning the plates with half step complexity is an old and crucial art.

*interesting observation*
To create an image of a double helix, take a good glossy Strad model violin and reflect sunlight on a nearby surface.

With my remission from arthritis I can now make a half dozen more ultra modern respondsive instruments and do what I hate...Sanding sanding sanding.