From - M52, Manchester, Michigan Harpsichords, Clavichords, Fortepianos and Violins etc. Opus No. Church Rockford, IL. Cloud, Minn. Normal, IL. Johannes Lang Freiburg, Germany. Screnock now in North Germany. Church Westfiled, NJ. College Grand Rapids, MI. Andreas Staier Koln, Germany. Carver blind South Bend, IN. Church Midland, MI.
Johns Cathedral Knoxville, TN. Robert Hill Freiburg, Germany. Tokyo, Japan. Fortepiano rebuildR. Hill Freiburg, Germany. Hill Manchester, MI. Hill Giromagny, France Jencks Cambridge, Mass. Hill Manchester, MI Cristofori Piano G. Thomas Budapest, Hungary. Michaels church Dallas, TX. Hill Manchester. Olaf College, Northfield, MN. Barbara, CA. John Brombaugh — Anon. Bernhard lagace- Anon. Miriam Jencks — Anon. Tokoro, Akiro - Wahlstom. Art Hixson —Frederici T.
Ishida Bach Grove — Hubert. Keith Hill - Instrument Maker. Here is the link for that page. Indeed, most books written about sound are based on the physics of sound. In the 46 years I have been making musical instruments, I have never found it either necessary or useful to know anything about the physics of sound. My reason for this total disregard for such knowledge is that ALL the greatest musical instrument makers from to including Stradivari, Guarneri del Jesu, Amati, Ruckers, de Zentis, Blanchet, Taskin, Cristofori, Stein, Hubert, Walther, Graf, Schnitger knew nothing about the physics of sound.
What these makers knew was vastly more important and valuable, but unfortunately was secreted away only in their instruments. Each of these qualities are what the ancient instrument makers knew how to build into their instruments and it is precisely these qualities that remain beyond the ken of scientists and makers who fancy themselves as acoustical scientists. It is these qualities the knowledge of how to build them into a sound that is secreted away in their instruments.
The only scientist I know of who made some progress in tackling these qualities was Jack Fry, but he succeeded by the same approach I myself used for the last 45 years. My attitude when I began making musical instruments in was to restrict myself to only that knowledge available to those great musical instrument makers.
