Re: Patching TPU innertube

On 12/31/2024 2:22 PM, Jeff Liebermann wrote:

On Tue, 31 Dec 2024 13:00:00 -0500, Frank Krygowski
<frkrygow@sbcglobal.net> wrote:
 

On 12/31/2024 6:25 AM, Catrike Rider wrote:
Then, each of them donned dark
goggles so they couldn't distinguish the instruments by sight and tested
out these top fiddles in two 75-minute sessions, one in a small room and
one in a 300-seat auditorium.

(...)

If you read that before, you should have taken notes when reading "75
minute sessions" and "300-seat auditorium."

 Note that there were TWO 75 minute sessions.  I know little about
string instruments, but I assume that they are much like playing a
piano, with which I'm more familiar.  I need about 5 minutes to become
accustomed to the keyboard and 10 additional minutes to "warm up"
which is mostly loosening the finger muscles.  However, playing the
remaining 60 minutes, in one sitting, seems rather excessive,
especially without intermission:
<https://www.hellosimply.com/blog/piano-culture/piano-recital/>
Besides an intermission, some time should be allocated for the
musician to tune his violin and apply the necessary rosin.
 Do you have a link to the source of this test?  This seems to be your
source:
<https://www.science.org/content/article/elite-violinists-fail-distinguish-legendary-violins-modern-fiddles>
It's behind a paywall but is easily bypassed.  There doesn't seem to
be any new information on the testing details.  So, I go to the
source:
"Soloist evaluations of six Old Italian and six new violins"
<https://www.pnas.org/doi/full/10.1073/pnas.1323367111>

...
I didn't read through all the information there, mostly because I've read tons about this issue, and violin acoustics in general, over the decades. Our department had a budget line item for Library purchases, and I think the most expensive item I ever requested was for a book on violin construction written by a team of two brothers who were part time luthiers, one of whom was a machinist, the other a degreed Mechanical Engineer. Their innovation, as described in one of my journal articles, was the construction of several measuring tools to consistently measure bending and torsional resistance along different axes of violin tops and backs - an operation generally carried out with bare hands and judgment.
But over the decades, articles on violin acoustics, etc. have appeared in many technical journals, plus popular scientific publications like Scientific American. I probably have phototcopies of some of those articles in my pre-internet filing cabinet.
Again, comparisons of Strads (and the like) vs. top quality modern violins have taken place since at least the 1800s. Dedicated experts in acoustics, instrument construction, materials, etc. have been very curious about this issue for a long, long time. Look up Ernst Chladni and the use of Chladni Patterns to analyze the vibration of complex plates, like violin tops and backs.
But that matters little here. Our little local "skeptic" is perfectly convinced that he (who has probably never played a violin) knows as much about violin acoustics as Chladni or Stradivari or any other acoustic expert; and that what he doesn't know is just a matter of opinion, with every opinion being equally correct; and that all tests are biased, in particular those that give results that are at odds with his predetermined but ignorant opinions.
--
- Frank Krygowski