purchasing ideal wood sets

..I became interested in Violin making and violin acoustics in January 2000 at the age of 52.
..At first I had the idea that I could read up on 'how to do it' and build my own violin I could be proud of. Then I thought that maybe it would be a good supplemental income as a past time. I made my first eighteen violins and sold about half.
..At that point I decided that I did not want to make and sell further violins until I could make a superior instrument each time; I had much to learn.
...Since then, my efforts, the past 10 years or so, have been in the area of practical violin acoustic research; with the goal of understanding what makes for better violin sound production.
..I concentrated on tap tune technology for all the various parts of the violin, learning that there is actually an ideal tap tone for each part of the instrument, what the frequency is, and how to measure and adjust each wood part.
..Lately that has been supplemented with research in violin varnish ground formulation to get the desired high frequency overtone reduction that the old masters understood.
(see articles on propolis, Dutch rush, and fullers earth; and their effects and uses).
..These past several years, the emphasis has also been on wood selection for best tone production, using the new Rub/Tone and Wood/Tone techniques described here in the violinresearch.com website. Now for 2020 I add the "Synchronous Resonance" technique to further filter pieces for a close acoustical 'marriage' in the new instrument. Add in an acceptable "Response Tone" and measure for density for top and back plate wood and the correct ration between the two; and you will have a wonderful result with careful construction.

...This rather long winded introduction is my way of saying that actually building a violin that is wonderful is a very rare event.
...For this to happen, one must select perfect wood parts, make the correct decisions of plate graduation and construction. Tune the parts perfectly for proper playing and varnish to emphasis the sound production.
..Frankly, without specialized guidance, based on actual proven techniques, this is an illusive goal. I am doing all I can to make that dream possible to the reasonably talented craftsman who is willing to spend the money and take the time to learn all he needs to know to be successful.
..The problem here is there are many voices pulling us in different directions. Until someone can demonstrate conclusively that they can produce world class instruments consistently, we will just have to wait and watch.
..I am doing all I can to make that dream come true!

..Now to the subject of this page: namely, would it be a good idea to offer a violin wood selection service so that ALL the correct wood for the parts of the instrument are provided to the amateur maker in one package?
..In order to have a chance to make a very successful instrument, the wood must be excellent matched through out.
...What would be a fair price if I or a violin supply company offered such a service? How much is it worth to the serious amateur maker to have a full set of correct wood at his fingertips? {Obviously not a first effort!}
...At the current state of affairs, I have spent about $ 3,000 for excellent tone woods and this stock is sufficient to make five instruments, or about $ 600 per instrument! All the rest of that violin making wood is either not on the Wood Tone scale or not at # 22 Rub Tone or very close. In other words: very pretty to look at but actually not up to the serious task of professional music making (perhaps fire wood some day?).
...I will let you decide if I should consider offering such a service, or encourage a company to do so (under my teaching)..., and what would it be worth to you?

Sincerely Yours;
David Langsather Webmaster violinresearch.com Salem, Oregon, USA
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