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Marco Osio Violinmaker
Италия
Добавлен 31 май 2023
Welcome to Marco Osio's channel, a Master Luthier from Cremona, Italy.
Marco crafts high-quality violins, violas, and cellos following Cremonese models such as Stradivari, Amati, and Guarneri. In addition to creating these exceptional instruments, he is a passionate advocate for luthiery, sharing the building process and the beauty of his craft.
Subscribe to discover the wonderful world of violin-making and its secrets with Marco.
안녕하세요 다양한 수상 경력을 가지고 있는 이탈리아 크레모나 출신 마에스트로, 바이올린 제작가 Marco Osio의 채널에 오신 것을 환영합니다.
스트라디바리, 아마티, 과르네리 델 제수 와 같은 크레모나 학파 모델을 사용하여 우수한 바이올린, 비올라, 첼로를 제작합니다. 악기들을 만드는 일뿐만 아니라, 현악기 제작사에 열정, 작업 과정과, 기술, 작품의 아름다움을 공유하기 원합니다.
Marco 와 함께 바이올린 제작의 세계와 그 비밀을 발견하기 원하신다면 구독해 주세요. 감사합니다.
マルコ・オジオのチャンネルへようこそ。彼はイタリア、クレモナ出身の弦楽器職人です。
マルコは、ストラディバリ、アマティ、グァルネリといったクレモナの伝統的なモデルを使って、高品質のバイオリン、ビオラ、チェロを製作しています。これらの卓越した楽器を創り出すだけでなく、彼の弦楽器に関する情報発信、その工芸のディテールの美しさと製造過程をご覧ください。
マルコと一緒にバイオリン作りの素晴らしい世界とその秘密を発見するために、ぜひチャンネル登録してください。
Marco crafts high-quality violins, violas, and cellos following Cremonese models such as Stradivari, Amati, and Guarneri. In addition to creating these exceptional instruments, he is a passionate advocate for luthiery, sharing the building process and the beauty of his craft.
Subscribe to discover the wonderful world of violin-making and its secrets with Marco.
안녕하세요 다양한 수상 경력을 가지고 있는 이탈리아 크레모나 출신 마에스트로, 바이올린 제작가 Marco Osio의 채널에 오신 것을 환영합니다.
스트라디바리, 아마티, 과르네리 델 제수 와 같은 크레모나 학파 모델을 사용하여 우수한 바이올린, 비올라, 첼로를 제작합니다. 악기들을 만드는 일뿐만 아니라, 현악기 제작사에 열정, 작업 과정과, 기술, 작품의 아름다움을 공유하기 원합니다.
Marco 와 함께 바이올린 제작의 세계와 그 비밀을 발견하기 원하신다면 구독해 주세요. 감사합니다.
マルコ・オジオのチャンネルへようこそ。彼はイタリア、クレモナ出身の弦楽器職人です。
マルコは、ストラディバリ、アマティ、グァルネリといったクレモナの伝統的なモデルを使って、高品質のバイオリン、ビオラ、チェロを製作しています。これらの卓越した楽器を創り出すだけでなく、彼の弦楽器に関する情報発信、その工芸のディテールの美しさと製造過程をご覧ください。
マルコと一緒にバイオリン作りの素晴らしい世界とその秘密を発見するために、ぜひチャンネル登録してください。
Mastering the Sound: The Role of F-Holes in Violin Acoustic
Join me, Marco Osio, in my atelier as we explore the captivating world of violin making, where tradition meets innovation. This video takes you behind the scenes of the intricate process of crafting f-holes on a violin, a vital aspect that shapes the unique character of each instrument.
Discover how precise drawing and meticulous finishing of the f-holes not only influence aesthetics but, most importantly, the sound quality of the violin. Every slight variation can change the air volume in the soundbox, modulating the sound in unexpected ways. This journey into violin making showcases the blend of artistry and engineering in creating exceptional instruments.
For more insights on violin maki...
Discover how precise drawing and meticulous finishing of the f-holes not only influence aesthetics but, most importantly, the sound quality of the violin. Every slight variation can change the air volume in the soundbox, modulating the sound in unexpected ways. This journey into violin making showcases the blend of artistry and engineering in creating exceptional instruments.
For more insights on violin maki...
Просмотров: 1 958
Видео
Stradivari vs Guarneri: a Modern Duel of Violin Masters
Просмотров 1,8 тыс.4 месяца назад
Join renowned violin maker Marco Osio in his workshop for a unique musical journey, where we revive a centuries-old debate with a modern twist. In this video, we showcase two exquisite violins: a model inspired by the Stradivari 1716 Oppenheim and another by the Guarneri del Gesù 1743 Ex Brusilow. Witness as Angela Kang, a virtuoso violinist, brings these instruments to life, revealing the dist...
Secrets Revealed: The Art of Violin Varnishing Like Never Before
Просмотров 8 тыс.5 месяцев назад
Join me in my workshop for an exclusive demonstration of alcohol varnishing a violin - a traditional process often kept secret, now revealed in detail. In this video, I'll guide you through all the stages of varnishing, from the initial wood preparation to the final polishing, showing how each step contributes to creating a unique and sonorous instrument. Why Watch This Video: This video is a w...
Discovering Val di Fiemme: in search of the Perfect Violin Wood
Просмотров 2966 месяцев назад
Join me on an enchanting journey to Val di Fiemme, a haven nestled in the heart of the Dolomites, famous for its resonance spruce - the cornerstone of violin-making. In this video, we explore the serene landscapes and delve into the art of selecting the perfect wood for crafting world-class violins. Witness the meticulous process of choosing resonance spruce, which is vital for the acoustic qua...
Celebrating my Ex Brusilow Violin 1743
Просмотров 9067 месяцев назад
Discover the winner of the thrilling 'Acoustic Duel' at Mondomusica: the Ex Brusilow 1743! This video features Angela Kang's incredible performance, showcasing the craftsmanship and art of Cremonese violin-making. Learn more about the creation and unique sound of the Ex Brusilow, a blend of tradition and innovation in the world of violins. Subscribe and turn on notifications for more insights i...
Acoustic Duel of Marco Osio's Violins: Guarneri King 1735 vs. Ex Brusilow 1743 Showdown!
Просмотров 4,5 тыс.10 месяцев назад
Acoustic Duel of Marco Osio's Violins: Guarneri King 1735 vs. Ex Brusilow 1743 Showdown!
Big Sound, Bigger Viola: Marco Osio's Grand Creation Revealed
Просмотров 1,2 тыс.11 месяцев назад
Big Sound, Bigger Viola: Marco Osio's Grand Creation Revealed
A Masterpiece in Music: Sakura Tateishi Explores the Voice of Marco Osio's Award-Winning Viola
Просмотров 387Год назад
A Masterpiece in Music: Sakura Tateishi Explores the Voice of Marco Osio's Award-Winning Viola
Marco Osio Violin Masterpiece:Angela Kang Interprets Bach partita n 3 Loure
Просмотров 2,6 тыс.Год назад
Marco Osio Violin Masterpiece:Angela Kang Interprets Bach partita n 3 Loure
Marco Osio, Stringed Instruments direct from Cremona
Просмотров 408Год назад
Marco Osio, Stringed Instruments direct from Cremona
Это песня а не работа!!!
Questa verniciatura è ad olio e non ad alcool come dici
Capisco il tuo dubbio ma questa verniciatura è effettivamente a base di alcol. La finitura liscia deriva dalla tecnica di applicazione, non dal tipo di vernice. Padroneggiare la tecnica può far sembrare una vernice ad alcol liscia come una vernice ad olio. Grazie per il tuo commento!
i do recognise something at 1:04,,, and i do not want to reveal something.... but i almost certain in what exactly you apply to threathen the wood... something my father also applied in the past
It’s casein
How is this possible??? Varnishing with alchohol varnish while it looks like oil??? No brush strokes whatsoever....nice , i want this varnish recipe.....😁
Thanks for the compliment! Indeed, it may look like oil because of the smooth finish, but the secret isn't just in the varnish recipe-it's all about the technique of application. Mastery in applying the varnish can make all the difference. Glad you liked it!
Marco Stradivarius used wood from 250 years old trees those trees are long gone and now under pressure luthiers are using 60 to 80 year old trees. There's an old saying that trees struck by lightning are good for making musical instruments because the resin has been dried out. I myself made a violin made of aluminium metal not the aluminium foil glued onto wood . At that time I was 15 and my violin won prizes for my school.
Well, not meaning to be unkind but there was practically NIL discussion of the "role of f-holes." What would be REALLY interesting would be to craft tops with different sized and shaped f-holes and then record and perhaps frequency analyze the results.
Thanks for your feedback! I understand your point about the role of f-holes. Stay tuned, and thanks again for the suggestion!
Gak ada terjemahannya ke bahasa indonesian.😊
It's always intriguing to hear a preference for the Guarneri's distinct sound. Thanks for adding to the conversation!
Guarneri for me. I have felt the palette is more open with colors though both are new. Strad model is great too. But I feel the dreamy nuance of the Guarneri
You said you were showing us how to varnish a violin. All you did was so us brush stokes. There is nothing here on how to. Where is the UV of the wood. The sealing of the wood. The mixing of the different varnishes. Anyone can show a finished product.
Thank you for your feedback. While this video focused primarily on the application technique, I agree that the preparation of the wood, the UV treatment, and the mixing of varnishes are all critical elements. The application technique, however, is what I believe truly distinguishes a masterful finish-it's more about how the varnish is applied than just what is used. Each stroke is deliberate and precise, contributing significantly to the final result. I appreciate your perspective and will consider highlighting more of the process in future videos to provide a more comprehensive view!
100% Brusilow ! :)
Thanks for your feedback!
Yes I am using casein glue before the varnish. You can see the glue fixing process in my video ruclips.net/video/vvq5FAtbbgI/видео.htmlsi=FbArZCgcalMu_j0n
Nice to meet you, I would like to see the adhesive fixing process, it is glue adhesive, right?
Very very nice! Is that orange? I haven't tried to use orange yet but i believe orange is difficult to get looking good like this one here... it's uplifting 😊
I guess it's probably red not orange😊
Thanks a lot! Yes, it's orange. Using orange can be tricky, but I'm happy with how it turned out here. It's great to hear you liked it! 😊
@@MarcoOsioViolinmaker great work 👍
Over the years, I forgot what a nice piece the Suk Serenade in the background is.
It's wonderful to hear that the video helped you reconnect with Suk's Serenade! It's a piece that I find complements the artistry of violin making perfectly. Glad you enjoyed it!
Yes, thank you for putting it on. This piece continues the line of the great Serenades such as the Dvorak, Tschaikovski and Elgar in a worthy way. It's mood is so utterly positive! @@MarcoOsioViolinmaker
does the intensity and strength of each stroke affect the final sound?
In my opinion, what really influences the sound is the thickness of the varnish. A coat that's too thick can dampen the violin's sound, while an overly thin layer might not only make the sound louder, but also somewhat coarse. The key is finding the right balance to enhance the natural qualities of the instrument.
Why didn't you explain exactly what you were doing and why you were doing it?
Great point, thanks for bringing it up! I wanted to let the visuals speak in this video, but it sounds like there's interest in a deeper dive. I'm saving those explanations for future videos - guess you'll have to subscribe and see! Appreciate your curiosity and engagement.
ok but you did not show or tell us what you used to prepare the wood, and what this alcohol varnish is? There are many wood varnishes but who knows what is used on a violin. I doubt it is polyurathane. And what was the stain? Shellac???
Thank you for your insightful comments. They've given me great ideas for future videos, where I can delve into specific details like wood preparation and the various materials used in the process. To answer one of your questions, you're right - it's definitely not polyurethane. In violin making, we typically use more traditional, often natural, varnishes. I'll make sure to cover these topics in more depth in upcoming videos. Stay tuned and thanks again for your curiosity and suggestions!
What I like about both instruments is you have not wasted time on antiquing them. Neither Strad or del gesu antiqued and it is crazy we want replicas. Ps, I will build brusilow next - did you copy the instrument down to its asymmetries? Any thoughts / experience with Bergonzi models, the subject of my current build? Thank you.
Thank you for your comment. You're right, I focus on crafting instruments without antiquing, as neither Strad nor del Gesù used this technique. In replicating the Brusilow, I aimed for precision in the arching and corners but chose not to replicate its asymmetries. Regarding Bergonzi models, I haven't built any instruments based on them yet, but it's certainly an intriguing prospect!
very nice varnish. You can tell the ingredients for making alcohol polish. 🙏
It’s a simple mixture of alcohol and transparent varnish, in ratio 10:1
@@MarcoOsioViolinmaker Do you only use shellac and alcohol? Although I apply it almost like yours, I use shellac and alcohol, it is not as beautiful as yours. 😞
Using only shellac and alcohol can indeed be limiting. In my process, I incorporate other resins like mastic and sandarac, which can make a significant difference in the results. These resins add unique qualities to the varnish, enhancing both the appearance and the sound of the instrument. It's all about finding the right balance and combination that works for you. Keep experimenting and you might find your ideal mix!
PS my cello is a David Caron, based on a Del Gesu pattern
The Ex Brusilow! I knew him! Best conductor I ever worked with.
That's a wonderful personal connection! Thank you for sharing your comment!
Guarneri for me. It has a deeper and richer tone
Thank you for your input! It's great to hear you enjoyed the Guarneri's rich and deep tone.
The Strad does sound brighter than the guaneri but as you mentioned both are new and have a harshness to the sound. On both instruments the A string has a tinny artifiact in the sound. I prefer the Strad model because I feel it has a bit more power than the Guaneri especially in the high register and I think will sound better once matured.
Thank you for your detailed observation and preference for the Strad model. It's intriguing to note your thoughts on the brightness and potential of the instrument as it matures. Your feedback, especially about the A string, is valuable!
Guarneri for me. Honestly I've never played a strad copy that I've really liked. And something about her playing made me feel like she preferred the Guarneri too!
Thanks for sharing your thoughts! It's interesting to hear about your preference for Guarneri and your experiences with Strad copies. Observing a musician's connection with an instrument is indeed insightful!!
I gave you five minutes and two seconds, that’s it.
What a wonderful Viola
Thank you so much for your kind words! I'm glad you appreciate the viola. Stay tuned for more!
ruclips.net/video/xrvwEudb6e0/видео.htmlsi=TmliyOdd5AVWzrr9
Hey Marco, wonderful work What did you start applying at 10:28 to make it shiny?
Thank you for the compliment! At 10:28, I start applying a mixture of alcohol with a bit of transparent varnish, in a ratio of about 10 to one. This helps to bring out the shine and really make the violin's finish pop.
@@MarcoOsioViolinmakerOh, really interesting And does it only work when you sand down the previous layer before applying the mixture? I commissioned a violin from a luthier here in Brazil, he said he uses turpentine and grease-based pigments, and that the varnish is less dense and rigid, making it absorb more light, therefore not so reflective as oil varnish I wonder if he could use that last part of the process you did (sand and apply the mixture of alcohol and transparent varnish), in order to give the violin that beautiful shiny look the violins from the old masters have
Yes, this technique works best on a sanded surface for better adhesion and finish. As for your luthier's method in Brazil, using turpentine and grease-based pigments is quite common and does affect the light absorption and reflectiveness of the varnish. Each luthier has their unique approach, and it’s possible for your luthier to try similar techniques for an antique look. Hope your new instrument turns out beautifully!
@@MarcoOsioViolinmaker Thank you, Marco. I appreciate your kindness and patience
@@MarcoOsioViolinmaker Thank you for your sharing! but I'd like to confirm once again and raise a small question: Is the ratio 10:1 for alcohol and resin, or is it for alcohol and transparent varnish?
Very nice technique, thank you for sharing! I bet there's also a secret to getting just the right consistency of the varnish to work beautifully like this. If I may ask, is your spruce sealer albumin?
Thank you for your kind words! Indeed, getting the right consistency of the varnish is crucial. As for the sealer, I actually use casein rather than albumin. Casein provides a reliable and consistent base for the subsequent layers of varnish, ensuring both the quality and the durability of the finish.
@@MarcoOsioViolinmaker so casein works with spirit varnish
Olá Marco Qual foi o pigmento que você usou?
Great question! I primarily use natural dyes such as turmeric, gamboge (gum gutta), dragon's blood, sandalwood, and ratanhia. All these colors are alcohol-extracted to ensure the best quality and adherence to the traditional methods of violin varnishing. Thanks for your interest in the details of my craft!
@@MarcoOsioViolinmaker muito bonita essa cor vermelha, eu quero extrair da raiz de robbia, parabéns pelo trabalho muito bonito, se puder fale mais Muito obrigado
Por que nao se esforça em perguntar numa lingua que ele fale? Fazê-lo usar google translate sendo que você no mínimo deveria estar usando, ja' que faz perguntas. @@jonatasestevan124
What secret have you revealed?
Indeed, there are two secrets revealed here: The first is the technique of using the brushes, a skill honed over years of practice. The second, and perhaps most important, is patience. Both are essential in the art of violin varnishing. Thanks for watching the video!
How much times do you polish after which layers?
that's some cool visual asmr ! love seing the violin shine after some brushing
Thank you! I'm glad you enjoyed the visual ASMR aspect of it. Appreciate your comment and support!
beautiful ❤
Thank you!!
I enjoyed this video. There is something so satisfying about watching a violin have its layers of varnish applied. You done a wonderful job. Great application technique. Thankyou for sharing your craft with the world.
Thank you so much for your kind words! I'm truly glad you enjoyed the video and appreciated the varnishing technique. Sharing my craft and passion for violin making with the world is a joy for me. Thanks again for your support and for watching!
So that fingerboard just couldn't wait until the varnishing was complete?
I actually prefer to glue the fingerboard slightly before completing the varnishing. This approach helps avoid potential wood swelling from the glue, which could necessitate reworking the neck's finish if done after varnishing. It ensures a smooth and flawless finish before the final varnish.
I need tips to play like you ❤
I’ll be your fan no#1 ❤❤
❤❤❤❤
Che figata
I fully agree with @shuliu99. The Ex Brusilow 1743 sounds richer and balanced, while the other sounds louder and more piercing to the ears.
Ex Brusilow 1743 사운드가 부드러운 음색이 귀에 들어옵니다
Sound-wise they all sound great, but I prefer the Ex Brusilow 1743 because its sound contains more relaxed and richer high-frequency overtones.
You burned/branded the wood with a red hot metal tool and yet no smoke. Weird!