This is how my instruments have been designed to do just that:
- The arching – traditional Cremonese in design, finely tuned with computer assistance. Design Process
- The varnish ground – a unique acoustic cement (rendered invisible by applying a varnish with a similar refractive index). This literally excites the vibrations in the wood.
- The setup – bridge, sound-post, bass-bar and strings. All these must be complimentary to each other, efficient in design and tuned for maximum effect. Even the tail piece is tuned so as not to sap energy from the instrument’s principal resonances.
- Body and Air resonances – the wood structure, the air inside the instrument and the air in the sound holes all vibrate with a very similar resonant frequency. When they are all tuned exactly together the instrument really sings.
- Wood – new wood does not sound like old wood. I use a special process to recreate the properties of 300 year old wood. It becomes less dense and therefore more responsive, warmer in sound and golden in colour. This is an important factor in creating an instrument with an ‘old’ tone, as it replicates the natural ageing process. Furthermore, I believe that the Cremonese also used treated wood. Here is one highly plausible explanation. www.milostamm.com