Looking For Inspiration? Try Looking Up Porn Star kayleigh Wanlass - 2024-01-16 05:42:51 - Soundpost
thank you for your complete description. - 2023-12-31 14:30:47 - Soundpost
Promoting your website is inexpensive Click Here - 2023-12-22 03:28:07 - Templates
I inspected the template 4 SVG. The height="1238.7472" for 350mm assumes 90 DPI. You'd have to set 90 DPI loading the SVG. Many apps including Inkscape uses 96 DPI by default. This is why 96/90 = 107% scaling was necessary. - 2023-12-18 02:08:23 - Templates
What a malevolent comment! And the arguments are thin… thinner tan a purfling, which is indeed 1,2 mm in most violins. So what’s all that about? - 2023-12-05 17:19:33 - Marking and cutting the purfling channel
What a malevolent comment! And the arguments are thin… thinner tan a purfling, which is indeed 1,2 mm in most violins. So what’s all that about? - 2023-12-05 17:19:17 - Marking and cutting the purfling channel
What a malevolent comment! And the arguments are thin… thinner tan a purfling, which is indeed 1,2 mm in most violins. So what’s all that about? - 2023-12-05 17:19:00 - Marking and cutting the purfling channel
If you take the "left to right" templates and position them on the "top to bottom" template so that they are in the right places according to the drawings, you would expect the bottom of all the templates line up in the same plane. They don't. Something is not quite right with the arching templates. - 2023-11-25 05:30:38 - Arching
Oil varnish and soul varnish are not much different in the sound of the violin unless you want it at high levels. If the violin was well made and the plates were well polished when making it, it would also sound good with soul varnish. But if the violin is poorly made, you cannot improve its sound with any oil varnish... Great violin makers such as Strad and Guarneri When they used oil varnish, there was no high-purity alcohol to make spirit varnish, because high-purity alcohol has been around for about one hundred and fifty years.... - 2023-11-14 05:55:16 - Wood ash oil varnish
Oil varnish and soul varnish are not much different in the sound of the violin unless you want it at high levels. If the violin was well made and the plates were well polished when making it, it would also sound good with soul varnish. But if the violin is poorly made, you cannot improve its sound with any oil varnish... Great violin makers such as Strad and Guarneri When they used oil varnish, there was no high-purity alcohol to make spirit varnish, because high-purity alcohol has been around for about one hundred and fifty years. - 2023-11-14 05:55:02 - Wood ash oil varnish
I mannaged to print on two A4s keeping the scale (350mm long template in figure 4). First, I "print to PDF" using the A3 size, but with 107% scale. Then, I really printed out that PDF file in A4 using the "poster" option on adobe, with regular 100% scale. After that, I glued the two parts together and it matched correctly the 350mm and the other measurements. - 2023-10-06 17:07:06 - Templates
Another alternative for wood prep is to torrify the wood before gluing. Torrefaction is a heat treatment that modifies the properties of wood. The process is also known as "roasting" or "baking". Torrefaction will change the appearance and sound of the wood giving it a golden brown coloration and sound common to many vintage instruments.
For a violin bridge, the wood is heated at 210°F for about 2 hours. The process is ideally done in an oxygen-free environment but that isn't easy to do normally, so an alternative that has worked for many is to tightly seal the wood in aluminum foil and placed in an oven for 2.5 hours. Higher temperatures can be used, but this can lead to burning the wood which is to be avoided. The oven is then turned down to 160°F for an hour, and everything is allowed to cool completely. It will make the room with the oven smell, so good ventilation during and after the is a must.
Torrefaction can make wood more resistant to fungi, molds, insects and wood pests feed on. Torrefied wood is as durable as cedar or chemically-treated wood. Torrefied wood retains greater dimensional stability when exposed to atmospheric changes. It has little tendency to shrink or warp due to temperature and humidity variations. The process can reduce the mass of wood by 20-30%.
- 2023-09-09 06:38:09 - Wood preparation
justo detras de la pata 2 a 4mm y similar a como pasa el poste de bajos - 2023-09-04 05:36:34 - Soundpost
Just bear in mind that the drawing for the mould is perfectly symmetrical and the drawing for the plates is not, the drawing for the mould does not correctly match either the left or right side of the plate template, so some personal interpretation will be required. - 2023-08-25 01:02:48 - Mould
Very nice clear instructions, well informed and relevant. Thanks so much. Who is the author? Whoever, congrats. - 2023-06-29 19:02:04 - Sources
I guess those graduations are replots of one of mine average plots from about 2010. Anders Buen, Oslo Norway. - 2023-02-11 21:19:58 - Graduations - top plate
Those graduations are likely to come from one of my average graduations charts. Anders Buen, Oslo Norway. - 2023-02-11 21:15:58 - Graduations - back plate
Nobody reviews the miserable mistake that's in fig. 1?
1.2 mm thick layer A+B+A?
Maybe the guy who wrote was an expert in violin making but the guy who made the drawings was not for shure!
And worst the autor it's a lazy guy who trust others?
Or this is a joke and I didn't get it?
I was back to the text and everybody's can see in a violin and in masters of violin making videos and that's not possible to be only 1,2 millimetres thick.
In which violin is glued a purfling of 1,2 mm?
Paper?
To replace wood?
I quit reading, sorry, so many mistakes in two or three paragraphs! - 2023-01-30 02:25:34 - Marking and cutting the purfling channel
Who is the author of the page "MakingTheViolin.com" and the date of creation? - 2023-01-12 22:14:09 - Sources
Print it out on two A4s, cut, glue together. - 2022-12-24 14:14:53 - Templates
Is there any way to do this if we have to have it printed at a store like Office Depot? It's pretty difficult, nobody around here offers A3 paper, just ledger which is slightly off size. - 2022-12-09 23:54:13 - Templates
In step 3, does the ash water have to be added to the pot of rosin and damar or does it have to be boiled separately? - 2022-10-03 12:03:57 - Wood ash oil varnish
Hi
This Page is a very good Page. A violin maker can easily get very useful information from this site.
Thank you for your very useful page.
R.Mousavi - 2022-09-26 15:15:50 - Tuning
I have to scale the templates to factor 1,0665068. - 2022-09-21 14:45:55 - Measurements
it is the right temperature as soon as you let fall a drop of water, and it JUMPS of the bending iron,the water drop don't need to "evaporate", so, i needs to JUMP of - 2022-08-15 10:59:31 - Bending the C ribs
Sorry،I meant figure four - 2022-08-12 20:23:41 - Templates
Hi.What is the length and height of the figure3? - 2022-08-12 20:19:41 - Templates
Shouldn’t the end view in figure one have the radius carved into it? I carved mine and it works successfully, but the figure is slightly misleading - 2022-08-06 07:28:02 - Shaping the fingerboard blank
Where is the link for the plate holder? - 2022-07-30 17:10:13 - Tools
Excelente, thanks for sharing. I Watching from Paraguay... - 2022-07-24 02:59:36 - Mould
Printing on A4 printer: Just open the svg plans in Inkscape and print it to PDF file. Then open the PDF file in Adobe Acrobat and using the "poster" feature in the printing dialogue, print the oversized outline on multiple A4 pages which than can be trimmed and glued together. - 2022-07-18 00:59:34 - Foreword
Just open the svg plans in Inkscape and print it to PDF file. Then print the PDF file either on A3 printer or using the "poster" feature in the printing dialogue in Adobe Acrobat, which will allow you to print the outline on multiple A4 pages which than can be cut and glued together. - 2022-07-18 00:56:40 - Templates
Is there any way to do this if we have to have it printed at a store like Office Depot? It's pretty difficult, nobody around here offers A3 paper, just ledger which is slightly off size. - 2022-07-08 23:00:13 - Templates
"Why is it important to determine the specific gravity of wood?
The specific gravity (SG) of wood is a measure of the amount of structural material a tree species allocate to support and strength" - 2022-07-08 17:33:11 - Specific gravity calculator
If possible I would like to see more information on setting up a new fingerboard and how to size,shape, and finish the top of it before gluing to the scroll and then after. Thank you, I use your guide all the time. - 2022-06-15 15:38:44 - Foreword
Hello, i only have an A4 Printer, is it still possible to print out the mold? and if so, how?, thank you!!! - 2022-05-05 10:16:43 - Foreword
Cut spruce blocks to the following sizes:
(height, lenght, width)
Top "A": 32 x 50 x 22 mm,
Upper corners "C, D": 33 x 25 x 28 mm, Lower corners "E, F": 33 x 25 x 28 mm,
Bottom "B": 34 x 46 x 20 mm. - 2022-04-24 19:35:49 - Mould
Avoid using cardboard, it get's difficult to cut the outlines after gluing the printed template to the cardboard... - 2022-04-20 16:11:03 - Templates
Thank you for your post and have fun making your first violin! :) VB - 2022-02-26 15:35:42 - Foreword
If this is your first violin just get regular linseed oil and you`ll be fine. Washing: Filtering the oil and cleansing the mucilage and particulates from it, washing it with water. The result is a much clearer oil with many added benefits: the oil dries faster, has greater gloss, works better with impasto techniques, has excellent color depth, and is more viscous than chemically refined oil.
Linseed oil, as commonly sold for artist use, is processed using high temperatures, chemicals, and solvents. The resulting oil has very little of the fatty acid content that is essential for the oil to dry. This is why linseed oil has the reputation of drying so slowly. These chemical refining processes are fast, but leave the artist with a less-than-ideal oil.
Interestingly, throughout much of history artists have been aware of the need to “clean” their linseed oil. For example, in the 16th century friends of the artist Perugino taught how to clean oil by putting it in a horn-shaped glass with an opening and a stopper at the bottom. Water was added and the mixture was stirred. After the water settled, it was drained from the bottom and fresh water was added. The process was then repeated seven or eight times. The painters referred to the resulting oil as “purified”. Today, because of the availability of large scale chemical refining, most artists have never even heard of this process. - 2022-02-26 15:22:51 - Grounds
Where do I get washed linseed oil - 2022-02-20 20:08:13 - Grounds
Use the template in the Template section. - 2022-02-20 18:26:40 - Mould
Здравствуйте! Недавно заинтересовался как устроена скрипка! Просмотрел некоторые материалы в Интернете, но Ваши статьи мне очень понравились! Все понятно и последовательно изложено. Мне 65 лет и ваша статья меня вдохновляет сделать руками скрипку. Буду применять древесину липы и хвойных пород дерева для постройки корпуса. Спасибо Вам за полезную информацию. - 2022-02-17 07:49:15 - Foreword
I used figure 2 to build the model and CNC to make the model, but when I paired with the template, they didn't match. I re measured the data. It seems that the data in Figure 2 is biased. In this chapter, you do not specify which drawing to use to make the model. After my research, it seems that I should use figure 1. Is that right? - 2022-02-09 13:40:28 - Mould
Thanks for laying that out - 2022-01-29 16:42:34 - Grounds
It appears that the fluting is shallower in the middle than the top or bottom of the violin. The arching is actually slightly lower in the middle compared to the arches to either side despite it being higher overall. Is this intentional? - 2022-01-14 10:48:01 - Arching
I am wondering, and I would ve happy if you can confirm- the washed linseed oil we are talking about is only washed, not cooked? - 2021-11-12 21:15:09 - Grounds
Hi, I am a school orchestra teacher who has to learn how to cut bridges (long story, but basically our repair person in the district does not do strings and we can't outsource due to budget restrictions, so I have to do this work myself).
Are the measurements for fractional violas the same as the violins? For example, an 11" viola would be the same as a 1/4 violin, and so on? Are there specific measurements for a 15" viola? My largest students will only be on a 15", so I don't have to worry about the bigger ones at this point.
Also, on International Violin Co, the bridge files they have say measurements different than what my luthier showed me. His are the Hosco brand, and say E = 0.20", A = 0.26", D = .032", and G = .040. The ones on IVCo say .4mm, .6mm, .8mm, etc. Are these the same? - 2021-10-02 20:55:42 - Measurements
Could anyone tell me the colour coding is for the strings for 4 string violin example what colour is the g string
- 2021-10-01 19:40:42 - Strings
How is it possible for the oil varnish to dry in the UV room for two or three hours? This will take at least a day unless the layer is very thin. - 2021-09-08 05:04:03 - Polishing
The best ratio is one to two dry adhesives to water - 2021-08-19 00:57:28 - Glues
Hello, I have a question regarding item 3 of the chapter "The bridge arch", figure 3 shows 5.5 mm and 7 mm, and in that item it describes 4.5 mm and 5.5 mm, which is the correct one? thanks - 2020-11-21 19:49:5 - 2021-07-20 10:14:08 - Bridge
Hi
I am asking this question to everyone. Unfortunately, I am receiving an answer. What do you think is the effect and difference between oil varnish oil and spirit varnish ((shellac))on the sound of violin?
What do you use the first layer for varnishing the violin to prevent oil from penetrating the wood?
Thank you very much - 2021-07-14 22:10:34 - Varnish recipes
teşekürler.
- 2021-06-14 16:38:02 - Templates
Hi, i print the planes in 107 scale. - 2021-06-03 17:30:46 - Measurements
It is hard to see, but in the second figure bottom right, the lower end of the bottom side of the fingerboard is curved up. How much exactly is up to preference, I've seen people do 1mm aswell. I learned that the sides should be at a consistent width throughout, so we mark that after the underside is completely done. The top side should be slightly hollow throughout the length and trajectory of each string. The sides should be the same, the gap in the middle being around how high you made the ends stand up. (With the gap I mean space between the fingerboard and the ruler.) - 2021-05-16 15:26:45 - Shaping the fingerboard blank
Hello, svg plans are not 1:1. You should scale down apr. 80%. - 2021-04-06 12:02:47 - Measurements
Muchas gracias excelente información saludos de Oaxaca, México - 2021-03-30 12:02:10 - Templates
Hello. I have read in other articles that it is 200 degrees Fahrenheit, do you have any information on this? - 2021-03-18 05:10:24 - Bending the C ribs
There might be a reason for the fluting..Those renaissance artists have been working really hard to be able to create this wonderful craft. They would not add anything into it with no reason. Because it has to be a perfect resonance box of predetermined harmonics allowing no any unwanted vibrational linkages...Continuity of the plate is foremost essential I believe, and this particular process may be helpful for that.
Thanks, it is a great website-great idea to share the experiences on this "old but perfect machine". - 2021-03-13 21:05:12 - Marking and fluting the F-holes
Which model of violin is this - 2021-03-13 11:14:20 - Foreword
Thank you for this detailed guide. I have been researching on how to carve the bridge and the info provided here aligns with what I found and more. I wished I've found this site in the beginning. - 2021-02-22 04:20:16 - Bridge
Thank you for the great information.
You'll be blessed with many blessings. - 2021-02-14 16:32:55 - Foreword
When fitting new pegs, allow the relative humidity of the pegs and instrument to equalise for a few days together in normal humidity. Otherwise, after fitting, the pegs and pegbox may dry out (even a little is bad) causing the pegs to sink further into the holes making the job unsightly, to the extent that it may have to be done again. - 2021-01-21 13:31:19 - Pegs and endpin
What are the dimensions of the bass bar on a 1/2 violin? - 2021-01-20 17:05:42 - Bass bar
Tailpiece should be made of lighter wood than ebony to reduce mass, that impedes vibration. Or remove wood wherever you can. - 2021-01-19 16:26:49 - Tailpiece
Joseph Michelman. Violin varnish, 1946. Excellent reading. See also his short articles available on JStore or other databases. - 2021-01-19 16:24:41 - Varnish recipes
Here is a simpler technique to glue the neck to the body.
For this, you will need:
-A small wood screw (with a screwdriver), preferrably Robertson head.
-A drill bit (an a drill too). Its diameter is not important but has to be a little smaller than that of the wood screw.
A) Dry fit, in proper position, the neck into its mortice.
B) Clamp it but allow some space to have access the end of the body.
C) Drill vertically a small hole in the middle of the heel of the neck, through the backplate. 10-15mm will suffice.
D) Remove the clamp, glue the neck.
E) Screw the neck but do not overtighten. The screw will prevent any move of the neck while the glue is drying. Do not forget to wipe off excess of glue.
F) Remove the screw.
G) Make a small wooden (or bone) dowel to plug the hole.
H) Cut the dowel off, then finish the end of the backplate.
This method reduces much slippage induced by the wedge shape of the fingerboard when a pressure is applied on it. - 2021-01-19 15:50:59 - Fitting the neck
Here is a simpler technique to glue the neck to the body.
For this, you will need:
-A small wood screw (with a screwdriver), preferrably Robertson head.
-A drill bit (an a drill too). Its diameter is not important but has to be a little smaller than that of the wood screw.
A) Dry fit, in proper position, the neck into its mortice.
B) Clamp it but allow some space to have access the end of the body.
C) Drill vertically a small hole in the middle of the heel of the neck, through the backplate. 10-15mm will suffice.
D) Remove the clamp, glue the neck.
E) Screw the neck but do not overtighten. The screw will prevent any move of the neck while the glue is drying. Do not forget to wipe off excess of glue.
F) Remove the screw.
G) Make a small wooden (or bone) dowel to plug the hole.
This method reduces much slippage induced by the wedge shape of the fingerboard when a pressure is applied on it. - 2021-01-19 15:48:37 - Fitting the neck
Hello, thanks for all the info. I successfully build the violin because of you, so thanks, thanks, thanks. But are you sure, that the map for mod influencing is working? For example I tried to lower the M5 and increase M2 by removing material in segment 4, but it lower both of them. - 2021-01-05 10:50:37 - Tuning
If you're looking at the ribs from the short side, you should see the quaretesawn growth rings, this will give the best figure and strength in your sides. - 2020-12-25 05:22:15 - Preparing the ribs
Great information!
Danke!
- 2020-11-27 15:51:35 - Mould
Hello, I have a question regarding item 3 of the chapter "The bridge arch", figure 3 shows 5.5 mm and 7 mm, and in that item it describes 4.5 mm and 5.5 mm, which is the correct one? thanks - 2020-11-21 19:49:55 - Bridge
This is a wonderful resource. Thank you for your work.
I see that fig 3 has widths and heights for the cross arches; is there similar information for the long arches?
Secondly, are there measurements for where to put cross arch A, cross arch B, et c.? It looks like they’re all at narrowest or widest points in their respective areas of the plate, but are there specific placements?
Thanks once again. - 2020-11-15 19:31:40 - Arching
I have never seen you reply to any of my comments but I'll try one more time. The copied statement: "Carve out the material between the strips according to the top radius of the fingerboard blank, see the bottom of Fig. 1. for the finished holder's wider end profile." does not make sense. When I look at the end view on figure one, I see no radius carved out as suggested. - 2020-10-13 18:03:05 - Shaping the fingerboard blank
It's much easier to put the E string on before the D and A as threy just get in the way. - 2020-10-06 22:18:02 - Strings
5.9.2020
Thank you Voytek for this most helpful manual that has been such an inspiration to me as an amateur . I have one question for you regarding the first paragraph and fig 1 of " Making The Ribs". You say that in the rib, the growth rings should be parallel to the external and internal faces of the ribs as possible for stability. If Growth Rings are Annular Rings, this leads me to think that the sides would be Slab-Cut wood will have a different pattern than the back and neck of the violin. Also it would be very difficult to get annular rings parallel to the rib sides if making the sides out of the of-cut wood from a one piece back. I wonder if by annular rings you intended Medullary (or Pith) Rays as this would solve my problem in comprehension. Thanks again for this manual that has been such a help to me. David Robilliard. - 2020-10-05 01:18:04 - Preparing the ribs
Thank you for such clear instructions on shaping the bridge. If I ever decided to build my own violin, this will definitely be a major resource. Thanks again! - 2020-09-28 02:21:23 - Bridge
It's possible to mark out, then carve around the bass bar. Having the bass bar carved as a whole into the violin top. - 2020-09-27 08:07:53 - Bass bar
The angle of the neck root walls is determined by the various widths. - 2020-09-23 17:54:52 - Shaping the neck root
You can always save the SVG images as PDF. - 2020-09-23 17:51:17 - Mould
It is measured from the overhang as in fig. 4. The differences in
overhangs are negligible. - 2020-09-23 17:48:53 - Fitting the neck
It's not clear to me the depth needed for the neck root. I understand that a neck stop of 130mm. The overhang may be different for the different violins. Should I measure neck stop from the ribs, or the overhang edge? The illustration suggest to use the overhang edge, but I think it would have different overhang for different models. - 2020-09-21 20:44:30 - Fitting the neck
Ignore the 30mm rule, go by the button width of your template. - 2020-09-21 20:34:25 - Shaping the neck root
Other than using the ribs and washer to draw overhang, the template can be used. Draw template onto board. Then markout crow feet away from outline, all around. Then connect overhang markings by freehand drawing. This would allow one to make the top and bottom without having done the ribs. - 2020-09-18 17:30:15 - Marking the front plate outline
According to the guaneri template, the button on the bottom plate would be 30mm wide. I think the bottom of the neck root should taper into 30mm from the finger board. - 2020-09-10 17:35:05 - Shaping the neck root
Kann man sie nicht im PDF Format bekommen? - 2020-09-06 01:01:49 - Mould
Vielen Dank für die Info und die Schablonen - 2020-09-05 21:56:34 - Templates
I cannot find at what angles the taper is for the neck root. I looked here and also in a book, but it's not documented. It's been left up to the luthier to decide the angle. What angle should the neck root taper be? 10degrees, 5 degrees, maybe 20degress? Maybe I should just mark width lines and draw a line between them? But I can't find that documented here either. - 2020-09-03 13:18:57 - Shaping the neck root
There is a measurement missing. At the finger board area, the part that connects to the violin. What width is it? - 2020-08-28 21:25:09 - Marking the neck blank
I can't tell you how grateful I am for all of this information and the useable files! For fig. 4 on this page and fig. 3 on the page for arching the back do you have a reference dimension for some part of the drawing so that I can be sure that the images are scaling correctly as I move them between programs?
Thanks,
Erin - 2020-08-26 03:18:45 - Arching
The C linings are set into the blocks to stop them from moving off the ribs if they begin to straighten, the upper and lower linings are bent the other way so will not try to straighten and move away. - 2020-08-20 21:50:49 - Linings
What is the reason for the penetration of c-shaped liners in the side blocks?What is the reason for the penetration of c-shaped liners in the side blocks? - 2020-08-16 00:28:40 - Linings
Hi, I am a violin maker and I have been doing this for about five or six years and I don't have much experience. I know that it is very difficult ..... I have a question about the difference between oil varnish and spirit varnish in the sound of violin.. Are there any differences ? that you prefer? Thanks you - 2020-08-07 02:12:34 - Wood ash oil varnish
Just to a search on "Violin Building Tools" and you will get plenty of hits. A high quality site is www.dictum.com ; another is www.cremonatools.com ; international violin ; etc... be careful ordering through alibaba or amazon, however, some tools are of questionable quality. Many of the hand saws, chisels, files, etc., can be purchased from almost any high quality woodworking tool store such as Rockler, Lie-Nielsen, Pecktool, etc. Anyways these should get you started on your search. - 2020-07-16 03:49:14 - Tools
do you carve the entire A/B parts to 6mm as well or only the end parts and take the rest of when doing the arching? thanks - 2020-06-20 22:43:13 - Sawing the front plate outline
Do you answer these questions? The profiles A, B, C, and D are obvious to me that you carve wood down some. However, the center area is unclear. Do I carve there as well? - 2020-06-20 21:17:58 - Sawing the front plate outline
Hello, with the Fig. 3 template, I guess you are taking into account the 4th position for the thumb with the neck block? Thanks a lot - 2020-06-19 07:47:06 - Preparing the neck block
On a second reading, disregard my previous comment; the linings are applied to each side before removing the block mould. After applying lining on both sides the ribs are stretched off of the mould. - 2020-06-11 18:18:28 - Linings
I believe you still have to remove the mould block so only apply the linings to one side. - 2020-06-11 14:36:09 - Linings
Hello, you need to print out the template in the Templates section. The measurement of 112mm is for a general violin not necessarily the one in the plans here. You should always print out from Inkscape for the correct aspect ratio. - 2020-06-09 09:19:31 - Measurements
hello, i'm reaally struggiling with measurements. I printed it out and it was 350mm top to bottom but the bout widths don't seem to add up. Am i measuring the bouts wrong asumming it's width. For example, it says that middle bouts should be 112mm so half 56mm. Whereas I've got 63/126mm, Since hieght is right I would have thought width would be correct. Should I go into inkscape and mannually adjust hieight and width to get correct measurements? Locking template and stretching it to 350mm does not have correct coresponding widths. - 2020-06-07 13:34:46 - Measurements
The only ground coat I use is washed linseed oil. I take a clean t-shirt and apply a thin layer of the oil. I then put the violin into my UV light box for 10 days. I repeat this process one more time. Nothing looks better on wood than oil. - 2020-05-26 00:57:40 - Grounds
The outline needs to be absolutely finished before the purfling. I'm not sure what he means by a little over.
Also, I was always told that overhang is 2.2mm. But that must just be my schooling. - 2020-05-18 16:10:50 - Marking and cutting the purfling channel
I like to use high quality 192 gram dried granular hide glue. 1 part glue to 1.9 part water gives me perfect medium consistency. - 2020-05-18 01:22:54 - Glues
Most luther's can order then for you - 2020-05-13 22:18:06 - Tools
So the overhang is 2.5mm in final form and you leave a little over that. A “little” means about 2mm? Does that mean the purfling should be 6mm if in final form it will be 4mm? - 2020-05-12 00:29:57 - Marking and cutting the purfling channel
Chapter Eight, Stradivari's Method of Construction
Part Two
Maggini unquestionably glued in his bars, and Gasparo in some cases, we believe, did the same. The earliest bass-bar seen by ourselves is one which we took from a violin made in 1621 by Antonius and Hieronymus Amati; and a glance at its proportions, which together with those of others we now give, is not without interest. To facilitate comparison, we also give the average dimensions of a modern bass-bar:-
It will be noted that, with the exception of the year 1716, Stradivari adhered practically to one size of bar, that size showing a slight increase on the two bars of N. Amati, but not on that of A. and H. Amati; while those of Alessandro Gagliano of 1720, and of Carlo Bergonzi Of 174-, as compared with Stradivari's, demonstrate the fact that bars of increased length and height were inserted at an early period.
The later members of the Gagliano family adjusted at times bars of similar proportions to those of today, and even stronger ones, as can be seen by the instances given.
In fixing the dimensions of his bars, Stradivari was evidently guided by past usage rather than by fresh experiments: in fact, the conditions which later on necessitated the substitution of a stronger bar did not then exist, consequently no change was called for. The standard of pitch was lower, hence the pressure of the bridge on the belly, which the bar helps to support, was less; and, further, more powerful tone production was only beginning to develop towards the end of the eighteenth century. (The improved bow must have had a considerable influence on the production of greater power of tone. Tourte was born in 1747, died in 1835.) We may consequently assume that players were perfectly content with the results attained by the smaller bar. The proportions of the present bass-bar were more or less adopted about the beginning of the last century.
Let us now turn to the exterior work of Stradivari's instruments, commencing with the outline, which illustrates in a marked degree that refreshing originality ever present with the master, and never entirely absent from the work of the many other Italian makers who flourished both before and after this epoch: even the Milanese cheapjacks (We here refer to such makers as Grancino, the several members of the Testore family, and their followers) possessed it, although obviously inspired by Cremonese work.
The recognition of this fact causes us to seek for an explanation to some extent in their system of construction, as it cannot for one moment be presumed that the greater number of Italian workmen were other than men of ordinary stamp, in no way possessed of the great powers of Stradivari. Yet their instruments, however faulty they may have been in other respects, have invariably a certain originality of design, which is in many cases remarkable: outline, soundholes, model, form of head-in fact, every part shows it.
In the case of Stradivari, we know that he was a fine draftsman and an adept at designing, and he turned his capabilities to account when sketching out a fresh outline. His practice was to draw the outer curves minus the edge all round-i.e. the curves are those of the sides. The sides once constructed, he placed them alternately on the slabs prepared for the back and belly, and traced round them with an open compass in order to obtain the margin of edge required.
Examine and compare the outlines of some of the principal followers of Amati and Stradivari, such as Andreas Guarnerius, Petrus Guarnerius of Mantua, his nephew of Venice, Joseph Guarnerius filius Andreae, the Rugeri family, Cappa, Carlo Bergonzi, Lorenzo and Joannes Baptista Guadagnini, and you will find that each one struck out a form differing from that of his neighbour, although they were all indebted to the same source for the foundation of their ideas.
Take Petrus Guarnerius of Mantua and Joseph Guarnerius, both sons as well as pupils of Andrea. Once set free from their father's workshop, each struck out in his own direction, and produced works which are stamped with originality-those of Petrus remarkably so. Even Carlo Bergonzi was not content with the unsurpassable designs of Stradivari, and seems to have taken the earliest opportunity of asserting his freedom. In fact, from the pioneer Brescians to the latest of the Cremonese, originality of form was ever one of the prominent inerits of the many and various makers.
Were it not known that Stradivari made use of moulds for the building up of the sides, we would have suggested that he, after first settling upon his design for the outline, and tracing it-probably from a cartridge pattern-on the slabs of maple and pine prepared for back and belly, roughly cut it out by a bow-saw; that then, after shaping the model, finally trueing up the curves of the outline and hollowing out the back to its correct thickness, he proceeded to glue on the six shaped blocks exactly in their respective places, and, when these were dry, bent the sides to them, thus dispensing altogether with a mould.
This system, though obviously presenting greater difficulties, especially in the way of keeping the sides true, was that in use with all the old English makers (to whom we think moulds were unknown); and it certainly has the advantage of allowing unlimited freedom to continually alter the outline, a facility which is restricted by the use of a mould-i.e. if the same mould is utilised unaltered-as it cannot be too clearly understood that the outline has to follow the exact contour of the mould, and vice versa.
That Stradivari did use moulds is proved by their existence in the hands of the descendants of Count Cozio, who purchased them direct from Paolo Stradivari, his son. Hence the question arises, how did he succeed in effecting, year after year, the continual and ever-vaying modifications of the curves of outline? It is evident that he drew a fresh design, and made a new mould for each decided change of form, whether of larger or smaller dimensions; but at the same time we think he probably had some simple plan which, by a slight alteration, permitted him to make use of the old mould while retaining a free hand to alter in a greater or lesser degree the curves, more especially those of the bouts and corners.
Examination of the moulds possessed by the Marchese Dalla Valle (there are nineteen, three of which are for tenors) furnishes us with no certain clue to any such method. All are of the most primitive type of interior moulds, made from planks about half an inch in thickness, similar to many actually in use at the various workshops in Mirecourt: several seem to have been frequently used, others but seldom. It may be that Stradivari continually re-shaped the existing moulds, and added to them thin strips of wood or canvas when necessary to suit the altered outline, eventually destroying them when too much patched. Failing some such plan, we can only conclude that he made new moulds for every change of form, however small that change may have been.
We may now turn to the purfling, which is connected with the outline. That this is so will be understood when it is borne in mind that it follows the contour of the instrument at an equal distance from the outer edge, and the perfection of its sweep depends in considerable measure on the accurate cutting of all the curves of the outline of the back and belly. It serves to throw into relief the elegance and truth or otherwise of the form; and Stradivari, by varying the thickness of its substance, its distance from the outer edge, and the different treatment of the mitres at the corners, caused it to materially contribute towards effecting those various changes in the character of the edge and fluting which we all so much admire.
His means and method of cutting the groove for the purfling were, as far as we can judge, those of to-day, and how admirably Stradivari handled the knife is shown by the accuracy of the cutting of these grooves. But the time of insertion is different, as the more general practice among modern makers is to insert the purfling immediately after the outline is cut and the model roughly shaped, whereas Stradivari and his brother makers did so only when the body of the instrument was glued together and so far finished.
Recognition of this point is not without importance, as it left the maker a free hand to correct and alter the curves, should any inequality of the margin of the edge round the sides have required it; and Stradivari undoubtedly did so, as it is very rare to find the curves of the back and belly of any of his instruments in exact agreement: in some, indeed, a considerable difference exists.
This method of purfling was that of all the old English makers, and we believe of the various foreign ones also. It unquestionably has advantages; but one serious drawback to it is that it presents an obstacle to obtaining absolute accuracy of the thicknesses, as it necessitates finishing the model and fluting of the edge after the thicknesses have been adjusted. We are of opinion that this fact accounts in some measure for the inaccuracy and inequalities of the thicknesses of many of the old Italian instruments.
Go to Chapter Eight, Part Three
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Internet Edition ©2001 Marshall C. St. John
Free Service of Cello Heaven - 2020-05-09 02:55:26 - Measurements
Surprised when you say that the grain direction of the nut should be that of the fingerboard. I would have thought exactly the opposite to add strength and prevent chipping at the ends strings from digging in "between" fibers. Am I misreading your comment?? - 2020-05-08 06:30:10 - Shaping the neck root
That's incorrect, the right f-hole tends to raise itself higher than the left one because of the soundpost, you could somewhat normalise it by adding a soundpost patch glued and sealed with spirit varnish. - 2020-05-04 13:21:21 - Marking and fluting the F-holes
Hello, could you add mode tuning techniques? Plate tuning changes on an assembled instrument especially after gluing and varnishing - 2020-05-04 13:15:36 - Tuning
Hello! Where do I go about getting these tools? - 2020-04-29 21:24:43 - Tools
I will clamp the ribs in place for markup , consider holes in the blocks to be unnecessary...Rocksolid - 2020-04-14 04:01:29 - Marking the front plate outline
Should I do both the front and back linings at this stage ? - 2020-04-13 17:14:32 - Linings
The glue mixed 1tspn to 60 ml seems very thin..
- 2020-04-10 06:48:42 - Glues
Hello and don't be bored. Thank you for your valuable work on this site. I didn't have the exact pattern and size to make my violin, which was made possible for me with your help. Thank you very much - 2020-04-04 18:29:30 - Graduations - top plate
سلام.کار شما بسیار با اززش هست.من الگویی دقیق برای ساخت ویولن نداشتم و با زحمات شما این کار برایم امکان پذیر شد.بی نهایت از شما ممنونم - 2020-04-04 18:23:01 - Tuning
Great instructions and comments! Thank you - 2020-04-02 15:41:08 - Templates
Hello, firstly, I want to say how much I appreciate the work you have put into this site to provide some very useful information to us builders, especially to people like me who have no formal training in violin making.
Could you clarify this point for me in the section showing the 1st set of cuts for the volute: "Notice that incision no. 7 has no boundary line at one end, as the template ends there." I don't understand the reference to a boundary line as cut #7 arrives to the edge of the scroll template as the other cuts do. It seems we need to wait until drawing the center line in the volute before proceeding with the 1st cut#7. I'm not clear on how you are saying to make cut#7.
Thanks, Pierre Comtois - 2020-03-07 18:39:19 - Cutting the volute
Hello Pierre, thank you for you kind words. As for the No. 7 cut, you are right, it lands at the end of the template, so you could make it before drawing the extension lines in Fig. 3 which really are there to support the second set of incisions. I hope it is clear to you now. Let me know if you need anything else. Have a good day, Vojtech Blahout - 2020-03-07 16:14:33 - Cutting the volute
Hello, firstly, I want to say how much I appreciate the work you have put into this site to provide some very useful information to us builders, especially to people like me who have no formal training in violin making.
Could you clarify this point for me in the section showing the 1st set of cuts for the volute: "Notice that incision no. 7 has no boundary line at one end, as the template ends there." I don't understand the reference to a boundary line as cut #7 arrives to the edge of the scroll template as the other cuts do. It seems we need to wait until drawing the center line in the volute before proceeding with the 1st cut#7. I'm not clear on how you are saying to make cut#7.
Thanks, Pierre Comtois - 2020-03-06 19:11:56 - Cutting the volute
SVG, the format these templates are in, is great for "lossless" printing. - 2020-01-31 16:19:26 - Mould
These are wonderful, but it would be great if they were available in some other format for ease of printing. - 2020-01-30 20:15:02 - Mould
Hello and thank you for your kind words. The bridge blank is just a part of a bigger whole so its size depends on how you want the instrument to sound. Im sure most makers would consider the blank to be too heavy as is. But again it all depends on the sound of the instrument you are after. Take a look at violinbridges.co.uk to see hundreds of examples of finished bridges. And, of course, I would advise you to experiment and hear the differences for yourself :-) VB - 2020-01-02 13:21:53 - Bridge
I just wish to thank you for providing this information as it has been helpful to me. I never realized one needed to go through such steps. I am hoping this will improve the sound of my instrument and I am sure it will. If I may I would like to ask a question. Is there ever a need to remove some wood from the filligees on the bridge. again, thank you. - 2020-01-02 01:01:23 - Bridge