Looking for a new dentist. (I'm sorry I'm too far away from SB!) I see a
couple advertising the use of something called a Diagnodent for detecting
decay. Is this a true advance, or is it hyped up? Can this actually help
detect decay underneath composit fillings?

Looking for a new dentist. (I'm sorry I'm too far away from SB!) I see
a couple advertising the use of something called a Diagnodent for
detecting decay. Is this a true advance, or is it hyped up? Can this
actually help detect decay underneath composit fillings?

On Fri, 2 May 2008 21:51:31 -0400, "Robert"
guyinct17@NOSPAMyahoo.com> wrote:

Looking for a new dentist. (I'm sorry I'm too far away from SB!) I see
a
couple advertising the use of something called a Diagnodent for detecting
decay. Is this a true advance, or is it hyped up? Can this actually help
detect decay underneath composit fillings?



Think Amatus has one, there are others here that also have this
instrument IIRC.

Perhaps they will chime in.

The DiagnoDent is useful for "staging" decay on teeth that do NOT already
have a filling. If there is a filling on the tooth, the DiagnoDent does NOT
help much. It's best use is to give a numerical value to some early decay
between teeth or in the center of a tooth, then compare the numerical value
at subsequent visits. This way you can tell if the lesion is changing or
not. I does help you make you decision of borderline lesions that you are
not 100% certain need a filling. A high number on the DiagnoDent will
indicate the need to fill the tooth soon.

It is a nice way of "staging" decay.

Amatus

Now back to practicing Chords.


It takes at least 3 notes to make a chord.

Newbie@bix.nex> wrote in message
news:btin1456hfo64deg0bc5bk0arsvgiusigo@4ax.com...
On Fri, 2 May 2008 21:51:31 -0400, "Robert"
guyinct17@NOSPAMyahoo.com> wrote:

Looking for a new dentist. (I'm sorry I'm too far away from SB!) I see
a
couple advertising the use of something called a Diagnodent for detecting
decay. Is this a true advance, or is it hyped up? Can this actually help
detect decay underneath composit fillings?



Think Amatus has one, there are others here that also have this
instrument IIRC.

Perhaps they will chime in.

On Sat, 3 May 2008 10:54:35 -0400, "Amatus Cremona"
nicola at (no spam) ..amanti.com> wrote:

The DiagnoDent is useful for "staging" decay on teeth that do NOT already
have a filling. If there is a filling on the tooth, the DiagnoDent does
NOT
help much. It's best use is to give a numerical value to some early decay
between teeth or in the center of a tooth, then compare the numerical
value
at subsequent visits. This way you can tell if the lesion is changing or
not. I does help you make you decision of borderline lesions that you are
not 100% certain need a filling. A high number on the DiagnoDent will
indicate the need to fill the tooth soon.

It is a nice way of "staging" decay.

Amatus

Now back to practicing Chords.


It takes at least 3 notes to make a chord.
(can you do that on a violin ?)
Two disparate notes are called an 'interval'.

Certainly arpeggios are well within the range
of your stringed instrument, but that's another topic.

8^]]



Newbie at (no spam) bix.nex> wrote in message
news:btin1456hfo64deg0bc5bk0arsvgiusigo at (no spam) 4ax.com...
On Fri, 2 May 2008 21:51:31 -0400, "Robert"
guyinct17 at (no spam) NOSPAMyahoo.com> wrote:

Looking for a new dentist. (I'm sorry I'm too far away from SB!) I
see
a
couple advertising the use of something called a Diagnodent for
detecting
decay. Is this a true advance, or is it hyped up? Can this actually
help
detect decay underneath composit fillings?



Think Amatus has one, there are others here that also have this
instrument IIRC.

Perhaps they will chime in.

An instrument set-up for "country-style" playing has the bridge cut rather
flat so that 3 and 4 note chords are easy.

An instrument set-up for "classical" playing (like mine) has more curve to
the bridge and you can easily drag the bow across 2 strings at one time. If
you apply more pressure to the bow, you can depress the center string (of 3)
and play a 3-note chord with moderate effort. A 4-note chord on my
instrument is not possible without playing up on the finger-board. A 4-note
chord on a classical set-up is played as a transitional sound of blending
two 3-note chords in one bow stroke.

Many intervals are played with a second violin playing the 3rd and 4th notes
to create a 3 or 4 note chord sound to the listener. You will hear this
most of the time with music written for quartets.

Are country fiddles made with the same radius fingerboard?

Classical guitars have a flat fingerboard, but almost all other
instruments whether acoustic or electric have radiused fingerboards
(though not as curvy as violins).
Are violin bridge saddles "compensated" like guitar saddles?

I actually see this less often in classical guitars. I think it has
something to do with temperament, but I'd guess without frets you can
compensate with your fingering.
The (late) Lou Harrison wrote some music (I think he may have transposed
some of his own music from harp) for resophonic guitar with curved frets.
Some instruments are actually set up with separate frets for each string,
and they all can move. I have enough problems tuning as it is. But
learning resophonic would be kewl.

Steve

An instrument set-up for "classical" playing (like mine) has more curve
to the bridge and you can easily drag the bow across 2 strings at one
time. If you apply more pressure to the bow, you can depress the center
string (of 3) and play a 3-note chord with moderate effort. A 4-note
chord on my instrument is not possible without playing up on the
finger-board. A 4-note chord on a classical set-up is played as a
transitional sound of blending two 3-note chords in one bow stroke.

Many intervals are played with a second violin playing the 3rd and 4th
notes to create a 3 or 4 note chord sound to the listener. You will hear
this most of the time with music written for quartets.

Are country fiddles made with the same radius fingerboard?

The radius of the fingerboard has no effect on the ability to bow across
multiple strings at one time, so they don't change it.

Classical guitars have a flat fingerboard, but almost all other
instruments whether acoustic or electric have radiused fingerboards
(though not as curvy as violins).
Are violin bridge saddles "compensated" like guitar saddles?

I don't know what a compensated saddle would be. A violin saddle is a small
peice of ebony at the very bottom of the belly of the instrument over which
the tail-gut extends from the tail-piece to the end-bottom. The strings
terminate at the "near" end of the tail-piece.

I actually see this less often in classical guitars. I think it has
something to do with temperament, but I'd guess without frets you can
compensate with your fingering.
The (late) Lou Harrison wrote some music (I think he may have transposed
some of his own music from harp) for resophonic guitar with curved frets.
Some instruments are actually set up with separate frets for each string,
and they all can move. I have enough problems tuning as it is. But
learning resophonic would be kewl.

What is resophonic mean?

I personally find it tough trying to play with frets since I cannot
compensate the tone if the instrument goes slightly off tune while playing.

Steve
An instrument set-up for "classical" playing (like mine) has more curve
to the bridge and you can easily drag the bow across 2 strings at one
time. If you apply more pressure to the bow, you can depress the center
string (of 3) and play a 3-note chord with moderate effort. A 4-note
chord on my instrument is not possible without playing up on the
finger-board. A 4-note chord on a classical set-up is played as a
transitional sound of blending two 3-note chords in one bow stroke.

Many intervals are played with a second violin playing the 3rd and 4th
notes to create a 3 or 4 note chord sound to the listener. You will hear
this most of the time with music written for quartets.

Amatus Cremona wrote:
Are country fiddles made with the same radius fingerboard?

The radius of the fingerboard has no effect on the ability to bow across
multiple strings at one time, so they don't change it.

Classical guitars have a flat fingerboard, but almost all other
instruments whether acoustic or electric have radiused fingerboards
(though not as curvy as violins).
Are violin bridge saddles "compensated" like guitar saddles?

I don't know what a compensated saddle would be. A violin saddle is a
small peice of ebony at the very bottom of the belly of the instrument
over which the tail-gut extends from the tail-piece to the end-bottom.
The strings terminate at the "near" end of the tail-piece.

I actually see this less often in classical guitars. I think it has
something to do with temperament, but I'd guess without frets you can
compensate with your fingering.
The (late) Lou Harrison wrote some music (I think he may have transposed
some of his own music from harp) for resophonic guitar with curved
frets. Some instruments are actually set up with separate frets for each
string, and they all can move. I have enough problems tuning as it is.
But learning resophonic would be kewl.

What is resophonic mean?



A resophonic guitar generally has a steel top with cones to amplify the
sound. It is usually played with a slide, and therefore I'd think with
altered tunings. The best known brands are National Steel and Dobro.
Here's a National:

http://tinyurl.com/66sp5a

I personally find it tough trying to play with frets since I cannot
compensate the tone if the instrument goes slightly off tune while
playing.


That's one reason why they say guitarists spend half their time tuning and
the other half playing out of tune.

Steve

Steve
An instrument set-up for "classical" playing (like mine) has more curve
to the bridge and you can easily drag the bow across 2 strings at one
time. If you apply more pressure to the bow, you can depress the
center string (of 3) and play a 3-note chord with moderate effort. A
4-note chord on my instrument is not possible without playing up on the
finger-board. A 4-note chord on a classical set-up is played as a
transitional sound of blending two 3-note chords in one bow stroke.

Many intervals are played with a second violin playing the 3rd and 4th
notes to create a 3 or 4 note chord sound to the listener. You will
hear this most of the time with music written for quartets.

Neat looking instrument !

At my lesson this past Saturday, my instrument was a bit less than one half
step sharp. Rather than re-tune, I simply moved my hand position a tiny bit
higher on the fingerboard. And,,,,,,,,,,, I was still in tune. {We tune to
"A" (440). My "A" string ended up a bit sharp on initial tuning up and the
other 3 strings were tuned high to match it.}

Amatus Cremona wrote:
Neat looking instrument !

At my lesson this past Saturday, my instrument was a bit less than one
half step sharp. Rather than re-tune, I simply moved my hand position a
tiny bit higher on the fingerboard. And,,,,,,,,,,, I was still in tune.
{We tune to "A" (440). My "A" string ended up a bit sharp on initial
tuning up and the other 3 strings were tuned high to match it.}



See, to a fretted instrument player, the idea of making those kinds of
intonation adjustments on the fly is mind-boggling.

Steve

--
Mark & Steven Bornfeld DDS
http://www.dentaltwins.com
Brooklyn, NY
718-258-5001

And, to someone who plays without frets, the limitations, on tone, with
frets seems constrictive.

it is common to exaggerate the sharp or the flat so as to increase the
difference between the tones. We might place the finger a quarter step
further away from the key signature note to make the accidental stand out
more. With my fat finger tips, this often means just tipping the finger
slightly.

I personally find it tough trying to play with frets since I cannot
compensate the tone if the instrument goes slightly off tune while playing.


That's one reason why they say guitarists spend half their time tuning
and the other half playing out of tune.

Steve

Amatus Cremona wrote:
Neat looking instrument !

At my lesson this past Saturday, my instrument was a bit less than one half
step sharp. Rather than re-tune, I simply moved my hand position a tiny bit
higher on the fingerboard. And,,,,,,,,,,, I was still in tune. {We tune to
"A" (440). My "A" string ended up a bit sharp on initial tuning up and the
other 3 strings were tuned high to match it.}



See, to a fretted instrument player, the idea of making those kinds of
intonation adjustments on the fly is mind-boggling.

Steve