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Thank you so much, glad you like the recording!

Thanks for your kind comment. That makes my day! Have a good day as well!

No, don't think so 😉

But to answer your original question: no I did not apply spring to the bass bar. I could not find historical sources for this, and current debate gives no consensus about the benefits of applying any pre-tension.

@@Boussu_Inside_Out I do, because the b bars I fit are in repairs, mainly to old trade fids bound for a thrashing in the bluegrass / old-time world. These fids sometimes have distressed tops. So a bit of spring helps, perhaps. I was surprised to see how much spring Davide Sora uses in a new fid ruclips.net/video/lTh8SKS3F4M/видео.html at about 18.02 - 03. Anyway nice work. You are young and have far to go! I am old, and not so much left!

Hi @GeoffreyBRIDGLAND, I have been thinking a bit more about your question. The bass bar as shown in the video is only 5 mm wide and 7 mm at it's highest point. Probably not a good idea to try and install this under tension. Hope this helps for your question...

@@GeoffreyBRIDGLAND Thank you for your reply and kind words, Geoffrey. Also thanks for the link to the video of D. Sora, I'll surely check it. To be honest, I did apply spring to bassbars in several modern violins I've built in the past. And in your case, when repairing violins, it might be a good idea to do so. As for the bass bar as shown in my video, this is an instrument copied after an original 18th-century instrument which still has it's original bass bar. This bar is only 5 mm wide and 7 mm at it's highest point. I thought it was probably not a good idea to try and install such small bar under tension. Hope this helps for your question... Good luck with your work on the violins and fiddles! Best regards from Holland, Geerten

Is (was) there a written rule that prescribes to put spring on a bass bar?

Thank you, Pietro!

Thanks for your kind comment! I think you will always need a bending iron, even if you only make one violin... But you can make one yourself, for instance from a copper pipe that is heated. But always be careful... Good luck with making your violin!

Measurements come be found here: geertenverberkmoes.nl/wp-content/uploads/2023/03/PhDthesis_GeertenVerberkmoes_A4_drukversie_15-10-2021.pdf

@@Boussu_Inside_Out nice, comprehensive material, thank you!

Hello umiviolalefut1593, thanks so much for your kind comment! Good to hear that you enjoyed the videos, and lots of luck and fun for your own violin making. Best regards, Geerten

Hello Andy, Thank you for your reply! Yes, this method was used a lot by European violin makers during the 17-19th century. It was nice to try it out for this project. Best regards, Geerten

Thank you, glad to hear you enjoyed it!!

Hi Michel, happy to hear that the video was helpful. Good luck with the work on your fiddle!! (BTW, does your fiddle have the same construction as the one in the video, so with a neck that protrudes into the soundbox?)

Hi Thank you , mine does not have the same as in your video but I like and prefer this design I dont think I wanna change my captain(my old violin), it is the clamping the back block first and side down one at a time in your video that helped me with my next step:o) but when I make one( my own violin) I will love your design the best built into the neck so elagant and LOVELY , it must give a better sound transfer .@@Boussu_Inside_Out

@@michelnagumaqmorton Great!! Good luck with the repair and with the new violin. Greetings from The Netherlands, Geerten

Thank you m, greetings from North Quebec Mountains @@Boussu_Inside_Out

Nee. Ik kopieerde een oud instrument (1750), en heb de bladdikten 1:1 gekopieerd. Van de bouwer (Boussu) analyseerde ik 27 violen, waarvan de bladen allemaal een identiek diktepatroon hebben. Van mijn 3 kopieen heb ik voor de bladen natuurlijk wel de kloptonen (modes 1, 2 en 5) genoteerd. Maar dus niet specifiek naar een bepaalde kloptoon toegewerkt. Dat zou immers omgekeerde wereld zijn. Meer info hier: geertenverberkmoes.nl/wp-content/uploads/2023/03/PhDthesis_GeertenVerberkmoes_A4_drukversie_15-10-2021.pdf

The strips are walnut, they are dyed black (or actually very dark brown) by soaking them for several hours in a hot mixture of iron sulfate and oak galls.

Hi, thank you for your comment and interest in my research! The option you mention was considered too. But there are simply too many arguments against it. I will mention some (not all). Firstly, M.A. Jugier was coming from a lower class than Boussu, her father was a labourer. Given the fact that the first child of Boussu and his second wife Jugier was born out of wedlock, their forced marriage was not planned. I state in my thesis that she was probaly the care taker for the children of Boussu's first marriage. M.A. Jugier was much younger than Boussu, and from their marriage in 1744 until her death at the age of 41 in 1759, she was almost continuously pregnant. She died during giving birth to her last child. So, I suppose she did not have much time or energy to make violins in between her care for the children. Then, several Boussu instruments, in consistant style, are known from after 1759, the year Marie Anne Jugier died. So, she could not have made these. And there are several more reasons for her not to be the main violin maker of the workshop. But... as I mention also in my thesis, I do not rule out the possibility that she, or the family's children, helped in the workshop. During the years, I thought of this "female maker" option quite a lot. One of the jury members of my thesis mentioned it as well. However, we should not project our 21st century post modern views on equal man/woman roles to the 18th century, how much we want women to be emancipated now or then.. Gender roles were simply different then.

Not this maker but there are some theories that catherine guarneri would help in the workshop... To explain some inconsistencies. And they had no children. I wouldn't be surprised if some did help in different degrees... Especially the poorer the family. But many households went under the heads name because that was the name with the highest prestigieux.. Also if it were a woman... Their work wouldn't sell well in that era... Woman had to fit into social norms... so if it were me I would use my husband's name as an alias. Now days I'm happy to put my name on my violins!!! But he also brought up children as a hinderment to some... Yes I can second that. I am the mother of 7... And it is so hard to balance children and violins. I deffinantly don't make as many as I could if I worked full time.

@@umiviolalefut1593 You are right about Boussu's wife and children helping in the business... please read page 294 of my thesis, where I contemplate on this theory. You can find the thesis (in English) here: geertenverberkmoes.nl/wp-content/uploads/2023/03/PhDthesis_GeertenVerberkmoes_A4_drukversie_15-10-2021.pdf Have a nice day!

I will happily read it!... In fact I will probably print and keep in my own records. As a violist... I am captivated by the brescian instruments... Who methods also differed from the cremonese process.

@@umiviolalefut1593 Thank you for your interest in my thesis, I hope you will enjoy reading it. Yes the Brescian instruments are really special, both in style and regarding the way we think they were made. Have you ever played one? I went to see an exhibition of Brescian instruments in Brescia, I guess around 2007. Really inpressive! Have a nice day

Thanks a lot Charles, for your kind reply. I'm happy with your comment, but I guess we should thank Boussu for designing these extraordinary isntruments in the first place!!

Thank you for you insightful comment. Please read my PhD thesis on these instruments here: geertenverberkmoes.nl/wp-content/uploads/2023/03/PhDthesis_GeertenVerberkmoes_A4_drukversie_15-10-2021.pdf After you're done, please comment back here!

Thanks you for your message. Yes, that was one of the techniques I wanted to try out with this project!

Hello Hunter, thanks for your comment. The method of neck attachment as shown in the videos is sometimes referred to as the "through-neck" method. It was one of the several ways for putting the neck to the body, as used in earlier violin making. Also used in Spanish (classical) guitar construction! Best regards, Geerten

Hi Gary, the top plate is made from European spruce, bought from a tonewood supplier in Mittenwald (Germany).

Thank you!

Hi Charles, yes it takes some patience and practice to do it well (-: Thanks for your nice comment!

Hello again Charles. Some of my planes are self-made, others were ordered (in a batch of 5 from different sizes) on ebay, from a supplier in China. Didn't cost a lot, and work as well as expensive ones (-; Best regards, Geerten

Thanks for the reply. I have seen these planes and wondered about the blade steel quality. Softer steel isn’t necessarily a terrible thing depending on application.are these the planes you use? @@Boussu_Inside_Out

@@charlesblithfield6182 Haven't experienced any problems with the blades that came with the Chinese planes. Pretty good steel. Sometimes I (temporarily) replace a blade by a toothed one, purchased from Dictum. BTW, you can make your own plane blades from old large/thick discarded saw blades. Good luck!

Yeah, you're right, Spanish guitars are still made like this! Violins no longer (-:

Hi Fred, thanks for your kind comment. You can read my PhD-thesis on this research here: geertenverberkmoes.nl/wp-content/uploads/2023/03/PhDthesis_GeertenVerberkmoes_A4_drukversie_15-10-2021.pdf Kind regards, Geerten

Hi Claudio, thank you for your kind comment! Glad to hear you enjoyed the video! Best regards, Geerten

Please read my PhD thesis: geertenverberkmoes.nl/wp-content/uploads/2023/03/PhDthesis_GeertenVerberkmoes_A4_drukversie_15-10-2021.pdf

Thank you very much, Mallorga, good to hear you enjoyed the video!

Well done!

Thank you Carlos, happy to hear you enjoyed the videos!

Hi, thanks for your comment. Please watch the whole series of violin making videos on this channel, and then read my PhD thesis on this topic: geertenverberkmoes.nl/wp-content/uploads/2023/03/PhDthesis_GeertenVerberkmoes_A4_drukversie_15-10-2021.pdf Then compare the methods I explored to present-day mainstream violin making. After you've done this, please comment back on this channel.

Dear Miguel, thank you for your reply and interest in my instruments. Please send me an email, directed to: boussu.inside.out@gmail.com Please include your full name and further contact info. Best regards, Geerten Verberkmoes

Hi,thanks for your comment, I bought the saw from DICTUM tools (Germany), and the saw is called Handiwork Microsaw. Purchased it a long time ago, not sure if they still sell the same model

Hi, thanks for your comment. If you mean the terminal end of the fingerboard: there is no veneer on that. I just stained the underlying spruce core end grain with black ink (same as was done on the original instrument that I copied).

North American sugar maple is much harder than the European maple I use. Furthermore, the age and storage conditions may have hardened your wood even more. Just sharpen your tools and you'll be able to work it!

Why not (-: These instruments are copies of 18th-century instruments. In that period, it was common for fingerboards to use ebony (or pear) veneer over a softwood core.

Thank you Harakat, that's nice to hear! Nice that you enjoyed the channel! Have a great day!!

Yes, one has to make choices in life (-: Tip: there a plenty of videos on YT showing how to make a "modern" violin! Good luck, Geerten

Hello Kendy, thank you for your message and interest in the channel! The veneers are walnut (as you probably had seen). I want to darken them, but not pitch-black. In the original (18th century) instruments I copied, the staining wasn't fully through and more brown-grey than black. You can control the degree of staining by the time of exposure. A few hours gives light darkening, a whole night gives black. It is not a bad idea to do some experimentation before working on the real strips (that's what I did to decide the degree of darkening). So, this is the procedure: 1) Put the veneer in hot water (close to boiling), together with crushed oak gals. 2) Let this soak for a couple of hours, even a whole night. The walnut takes up the tannine from the gals. Heat moderately. 3) Take the veneers out of the brew, and quickly rinse with clean water. 4) Refill the pan with hot water, and add two spoon of ironsulphate . Now add the veneer. Let this soak for as long as suitable for the preferred darkening. Again, heat moderately. 5) When done, thoroughly rinse the strips multiple times with clean water, to get rid of all the excess chemicals. Leave them in the clean water for a few hours. You can monitor this by watching any black stain still coming into the water. After this, leave to dry. That's it I guess. Good luck! Are you a maker? Best regards, Geerten

Hello again Kendy, thanks for you second reply (which for some reason related to YT cannot see back in this video thread). But having read it, I wish you good luck in making the instruments that you make for your learning process. Great that you make your own varnish and purfling. A tip for the purfling: I use standard (0.6 mm) veneer, and made a scraper device based on a Stanley plane blade holder, with which the veneer strips can be accurately scraped to the right thickness (0.3-0.4 mm). The device is also depicted in Weisshaar's book on violin restoration. Good luck and thanks again for your interest!

Mmmm.. by adding this reply, I deleted the first one...

Thank you Derrick, for your kind words, good to hear that the videos were of help. Kind regards from the Netherlands, Geerten

LOL, I also do: ruclips.net/video/bUvl-O-P2CQ/видео.html Cheers!

Wow, thanks so much for this very kind comment, you made my day!

Hi Karzan, thanks for your comment, for which I used Google translate to translate from Arabic. I hope I understood well tho... In order to glue the two panels well, you have to make sure that you plane them very well, so they fit without any gap or rocking. This needs practice. Check with a very straight ruler, and also check if the plane on the wood is not "twisted" (you can check with two sticks, placed perpendicular at each end of the plane to be examined, and then looking over the two sticks to see if they parallel). You can also dry fit the two panels and see and feel if the fit is tight. At first it takes you a whole day, then half a day and finally 30 minutes. When the glue is applied, and the two parts are rubbed together, they are holding already really strong. Some people don't even use clamps, but I do. Good luck, just try it yourself and you'll learn quickly. Thank you.

Hi KillerSugar, Yes, that's a Baroque bow. The setup is quite close to what is normally called "Baroque" (gut strings, wedged fingerboard, short and low bass bar, Baroque style tailpiece with gut loop). These elements were copied directly from the original example instrument (1750, Boussu). The neck and fingerboard are not as fat as on early Baroque violins, actually quite close to modern shape. The bridge is also transitional, since 1750 is at the end of the Baroque going into the Classical period. Newer style bridges came into use then. But please note that the so-called Baroque period itself was 150 years long, and spread through the whole of Europe. This means that within this period, we see a lot of local and chronological variety. Hope this helps, Geerten

Hello cpage86! Thanks for your kind comment, glald to hear you like the videos. Yes, you're right, the construction is rather similar to classical guitar making (although there are differences too, as a classical guitar is built up from the belly). The aim of my project was to explore this method, that is no longer used by present-day makers.. It was nice to work this way, and made me realise that a violin can be made in many ways. Are you a guitar maker? Best regards, Geerten

Hi again Benny, good to hear you became inspired by the videos. Please pick up making again, and make some nice violins. You can do it! The learning curve is steep, so your second one will be way better than the first. As a musicians, you have a huge benefit for judging your creations. And yes, use a standard making method, not the one shown in my videos (-: That was for research purposes only! But I'm glad you enjoyed watching! Good luck and it was nice to read your comments. All best, Geerten

Cool, thanks!

I went to school in Belgium, first at CMB Puurs and later at the Conservatory in Ghent, where there is a program for historical instrument making.

Thank you so much!