At first I didn't quite know what I would do with the book, other than read it over and over again. My distrust of history then was still strong, and I wanted to concentrate on the story for its own sake, rather than on the manuscript's scientific, cultural, anthropological, or 'historical' value. I was drawn to the author himself.
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READIN
READIN started out as a place for me
to keep track of what I am reading, and to learn (slowly, slowly)
how to design a web site.
There has been some mission drift
here and there, but in general that's still what it is. Some of
the main things I write about here are
reading books,
listening to (and playing) music, and
watching the movies. Also I write about the
work I do with my hands and with my head; and of course about bringing up Sylvia.
The site is a bit of a work in progress. New features will come on-line now and then; and you will occasionally get error messages in place of the blog, for the forseeable future. Cut me some slack, I'm just doing it for fun! And if you see an error message you think I should know about, please drop me a line. READIN source code is PHP and CSS, and available on request, in case you want to see how it works.
See my reading list for what I'm interested in this year.
READIN has been visited approximately 236,737 times since October, 2007.
The tin-can cello had a strong wolf tone when playing B, especially noticeable on the A string. Last night I fixed it with an improvised wolf tone eliminator:
My thinking was that the wolf tone eliminators I've seen for sale are just a method of adding a little mass and damping to the afterlength of the string. I thought a fishing weight would do nicely and not have any moving parts to come loose. It works like a charm -- the B on the A string sounds clear and true, and it sounds fine on other strings as well though there is not as much of a stark difference... I don't hear wolf tone anywhere else.
posted morning of December 28th, 2018: Respond ➳ More posts about Luthery
A dilruba could be built with a gourd body. (note Not nearly enough tension to support a washtub construction, though.) The neck might be cherry -- the shape of it seems pretty easy to build, much much simpler than a sitar neck. (I am thinking here that the neck is not hollow, I'll need to check that.) Friction pegs for the tarif strings could easily be let in to the side of the neck with the string winding on the outside. The bridge will be maple and the nut cocobolo. Or a cocobolo bridge even! That could be made pretty thin.
Over the course of building the tin-can cello, I've searched around a few times for precursors [1, 2]. I've been a bit surprised at how few examples of an instrument with a metal soundboard I've been able to find! Here are some projects I've had in mind recently:
The tin-can cello. This is the project most of my blogging has been about recently, a cello with a washtub body, with the base of the tub as soundboard.
A 4-stringed viola da gamba sort of instrument with a wok (bronze) as its soundboard and an arched maple back, and steel strings. I'm not really sure yet of what the scale length will be or what gauge of strings I'll be using. I'm thinking the strings will be tuned to E, A, D, G but I don't know in what octave.
A banjo-style instrument with a cymbal as its soundboard.
A violin made from pounded-out sheet metal (with a wooden neck/scroll/fingerboard). If bronze can be found in sheet form and is strong enough, I'd like to use it. Otherwise steel. [Looks like sheet bronze, brass, and steel can be had from onlinemetals.com]
A (high-tin) bronze urn or vase or bowl (singing bowl?) or bucket, fitted with a wooden neck and bridge, and strings.
An erhu with a coffee can resonator.
A violin (or soprano violin?) with a cookie tin resonator.
A contrabass with a bell as its resonating chamber.
