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TOP  PLATE

Hand carved Top Plate from German Spruce.Cut in 2001, this top exemplifies the technique I use in sculpting
the instrument.The two dimensional base is created as the form is being carved , one necessities both projections as one is the reference for the other. Spacial relationships which appear as a resault of this cut
could not have been achieved by any other non mechanical means. The process of insertion cutting presses
the wood with each cut . This resaults in a type of tempering which increases the specific gravity of the the final plate. Traditional methods incorrporate  plamn planes to remove the wood in shaping the top . This method
imparts small amounts of energy of the shearing type which causes little change to the specific gravity of the
piece.   The Bass bar is actually the template for the correct allinment of the form.Within the design of
this bar lies the key to proper bar construction.I will speak of this aspect latter as for now  I shall say that the bars tap note is :A: wt. 5 grams.
the tope plate is the primary souarce whi ch initiates the vibration which  will in sympathy bring all multiples of the initial vibration into sypathetic harmony as many diferent shapes resonate in sympathy . Sound , light ,
electromagnetic  vibrations and electron spins are all located some where on the electromagnetic spectrum
as is cosmic radiation.Multiples of the original note all resonate in sympathy with the bass note.
The boot sizes for the violin top above came from dimentions I took off my head. Sounds crasy but in 1669
it was hearitical. The violin enclosure is the same volume of your skull.Play a violin and sense these vibrations.
Again in sympathy you resonate in harhomy providing the instrument is so designed.
SENN & ROY describes  over 100 authenticated Stainer Violins .The first thing you notice is that no two Stainers listed have the same boot measurments.I will post these measurments at a later time..