My endpin designs actually seem to set up new vibrational patterns within the wooden body of the instrument. My pins are more reactive by design as well as serve as a method for mechanical grounding.
The very cool thing about all of this is that the wood has a memory even though the materials maybe a few hundred years old. A new pin can fire new vibrational patterns and you can sense all of this happen with your very ears over a matter of minutes. The cello will grow in physical size and stature. You will hear the tone become more extended in both directions and it will take on more bloom and focus at the same time. The first time I recorded this by accident it almost floored me. The other thing that happens goes back to my first point. When the musician took my pin out of the same cello and put his original pin back and played the same passage the cello sounded the same. This to me was a huge disappointment until as he played longer I could hear the instrument collapse and revert to its original sound shape. That only took a few minutes. I found this remarkable that dead wood could still have new pathways of sonic convergence align and dissapate all caused by the introduction of a new material and geometry.
As Dover wrote a musician's playing style probably would be retained with in the instrument until the next player came along and played his style into the same wooden body.How long does it take to pour the old influence out and pour the new influence into the body? I found with my devices that this can happen in minutes but improves greatly over time..became more whole and organic. With no added device to the playing of the violin the only variations would be the musician's technique and the his or her's bone strutcure
Based on my experience with the cello that they do have a variable acoustic memory and because of that I would take no stock in the methods or findings of the violins under test.
The very cool thing about all of this is that the wood has a memory even though the materials maybe a few hundred years old. A new pin can fire new vibrational patterns and you can sense all of this happen with your very ears over a matter of minutes. The cello will grow in physical size and stature. You will hear the tone become more extended in both directions and it will take on more bloom and focus at the same time. The first time I recorded this by accident it almost floored me. The other thing that happens goes back to my first point. When the musician took my pin out of the same cello and put his original pin back and played the same passage the cello sounded the same. This to me was a huge disappointment until as he played longer I could hear the instrument collapse and revert to its original sound shape. That only took a few minutes. I found this remarkable that dead wood could still have new pathways of sonic convergence align and dissapate all caused by the introduction of a new material and geometry.
As Dover wrote a musician's playing style probably would be retained with in the instrument until the next player came along and played his style into the same wooden body.How long does it take to pour the old influence out and pour the new influence into the body? I found with my devices that this can happen in minutes but improves greatly over time..became more whole and organic. With no added device to the playing of the violin the only variations would be the musician's technique and the his or her's bone strutcure
Based on my experience with the cello that they do have a variable acoustic memory and because of that I would take no stock in the methods or findings of the violins under test.