Making a Violin | Guarneri Del Gesu "Veiutemps" | Part 18
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- Опубликовано: 21 окт 2024
- Remaking the top, I said I might do it and now I am, It's a blest cutting tops like this one.
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I can't tell you how excited I am regarding your concern for good tonality. Regarding Ron Carpenter's comment, I'm 61, and I'm ready to put a CNC in the barn! Let's go! I want to make one with a pine top and an oak back. You're content is awesome. Much preferred the fiddle to the piano!
Thanks for sharing!
When you get the top whittled down to that bendable, pliable, and resonant perfection; then the violin guys will argue over lacquer, varnish, poly, or shellac. They still say you can't make a Stradivarius because his varnish was different. I'd bet if you gave them a finished violin any of them would gladly take it. Terrific thought process to model, troubleshoot, test, then make the various elements of an instrument. I wish I wasn't 70, it looks like something I'd love to do.
Thanks, I'm glad you enjoyed it, and yes, some of the traditional guys can be real sticklers for the details. I tend to get lost in the details myself; I try not to get to the point where I'm telling other people how it has to be done, there is plenty of room for experimentation, and that's the fun part.
What you're doing is amazing. This is the future of the luthier. In 300 years we'll be coveting a Cherry del gesu
Thanks, I hope the bread crumbs I leave are easy to follow.
Just binged-watched all 18 videos. I know nothing about making instruments; so I’m glad I found this channel. This is so incredibly interesting, and excited how the violin turns out!
Glad you like them!
Great seeing another video! I'm gonna make another one of my geeky comments.. You didn't seem to hate me for the last one, but tell me if I should stop ;-)
Integrated/carved bass bars was common practice in certain regions earlier on, and it actually isn't much different performance wise from a glued in bar. I think you might want to look for that nasal tone other places, and I suspect that the very stiff top you mentioned. Your spruce quite frankly doesn't look to be of high quality, and that might be why you end up with a thick top if you tap-tune. That wide soft grain will likely lower your frequency prematurely because the wood isn't stiff enough.
Apart from the first top being unnecessarily thick, you might want to consider thinning the channel. That can even be done after assembly, but before varnish, to tweak the tone. Thinner channel area will make the violin loose some focus and gain warmth and darkness, and that to me sounds like something you would want for your instruments. For myself, I don't know. I'm currently building a Vuillaume cello as my main project, and as I'll be playing concerts on it, I want a nice dark tone, but I also want it to be a powerful beast of a cello to support my... Aggressive playing at times :-P
Another thing to consider is of course soundpost placement, but the bridge could also contribute to your loss of tonal complexity if you have mass in bad places.
Anyway, these are just my theories, feeel free to consider them or not. I am learning, and part of that learning for me is to build some sort of physical understanding of the instrument, and that leads me to critiquing violin plates in youtube comments ;-)
The arching criticue is not something I have read myself, but I think people could be referring to the fact that you have a steeper rise after the channel and then a flatter area on top than the Strad poster arching? But if so, it's very minor in my opinion. Will it affect tone? Yes. Will it be a lot? Nah... Will it be worse? Noone knows.
That's all I have for now. Maybe you can use my thoughts for something, maybe not. No matter what I still think it's a very interesting build, and I hope it'll end in you handing it to a skilled violinist to get the most sound out of it. Maybe even someone who plays a Guarneri and can tell you how close the feel is of the two, that would be an amazing way to learn, both for you and us :-D
Can't wait for the net video ;-)
Cheers
Tobias
I definitely appreciate the comments, Don't stop on my account
Who's ball type router bit (red) are you using? Is this a standard route bit that you get when you buy route bits? I like what I am seeing on your channel, I learning a lot thank you for taking time to show us these things.
It's just a normal router bit from your local big-box store, this one is .75"
Thanks for your reply that is what I thought it was just wanted to make sure. Do use any other standard woodworking router bits?
Almost everything I use is a stander router bit available at your local store. I use 1/2" x 3" two flutes straight bit that I usually get from ebay for cutting deep parts, and a specal 1/4" bit made for cuttin acylic, other than those everting is cheap and localy available for most folks.
hey, really appreciate your content, I'm really getting a lot of quality information out of your videos, also supporting you on patreon already :) - I've been making instruments as a hobby for around 10 years now, starting with upcycling instruments like oilcan guitars and the like, graduating to proper acoustics about two years ago and now starting to integrate fusion 360 into my process :) My next project is an archtop ukulele (so as not to waste as much wood as in an archtop guitar when I fuck up - archtop guitar will be next after the ukulele though...) -- so here's a question: I'm starting to make a few test arched ukulele tops on the cnc now but so far can't seem to get a nice finishing cut that would minimize the sanding afterwards - what combination of milling operations are you using to get to the nice finished top seen in other videos? Thanks and cheers from Berlin!
Thanks, I'm glad you like it. Excellent question, I do the rough milling with a 1/2" end mill with a .125" step down and less than .25" stepover, I set the stock to leave at .06" (this is usually a pocket toolpath), the finish cut is done with a .75" ball end mill on a scallop toolpath with stepover around .06" this scallop toolpath is what gives the nice surface finish. When I made the first top for the violin I had not figured this out yet so the F360 file on the Patreon page doesn't have this setup, I have updated it and when I finish the new top (hopefully in the next few weeks) I will post the updated file to Patreon. Thanks for the support and I hope this helps, let me know if you have any more questions.
@@TwoCherriesIns great, thanks for the reply :) I used a 3D adaptive toolpath followed by a 3D parallel and scallop toolpath, so not too different. might have to try a different ball end mill then or smaller stepover to get a nicer finish. I'll also have a look at your files on patreon, haven't gotten around to checking them out yet. In case you're interested check out my instagram for recent stuff I've been making instagram.com/do.se_instruments/ or some older upcycling instruments videos on my youtube channel as well. also looking forward to your next videos :)
Do you sell programs?
I share my files with Pareon members.
Necesito el archivo por favor gracias
www.patreon.com/posts/guarneri-del-31807946?
How the violin sounds?
I haven't strung it up yet, It was close but the neck angle need some work so I decided to remake the top at the same time as resenting the neck, we will find out soon enough.
Try make delrin, a little bit most tiny than wood
I don't understand, what about delrin?
@@TwoCherriesIns delrin is a kind of plastic very hard
So where is your skill at violin making at? Operating a router machine? Oh, I see its also in computers.....too bad the old masters didn't have that. I prefer mine handmade not machine made.
The art of making an instrument is in the fine details. CNC’s only do the rough carving. I use traditional methods to hand finish each part. It doesn’t take any special skill to rough out lumber. Several older makers have contacted me, they have difficulty performing this roughing work. The wear and tear over the years have done significant damage to their hands and joints. This method keeps them viable for a few more years; there is no way to tell how long it can extend the careers of luthiers who use these methods throughout their lifetime. Maybe you feel like we should put these folks out to pasture, or that this work is only for the young. I think we should keep these skilled craftsmen active for as long as possible and learn as much as we can about fine finish work from them.
@@TwoCherriesIns okay, but I know luthiers that are in their golden years that never use a CNC to do rough work. To each his own, good luck.
@@masterchief586 Yes, there are a few, but not enough. I have seen many quit well before their time.
@@TwoCherriesIns I certainly did not mean to put you down for your methods. Just seems not so personal using the CNC for a violin. I would think that a all hands on build would be much more satisfying 🤔.
@@masterchief586 It seems inherent in your question that you have not tried both methods and therefore don't have the experience necessary to make that particular judgment. I have built many instruments manually and with the CNC; I find them all equally satisfying. I'm criticized from both sides; If I don't perform the work with the CNC, I am told I should, and when I do, I am told it's more satisfying without. Combining what is best done with CNC, CAD, and CAM with handwork provides results that are both accurate and efficient. Some work is quicker and cleaner by hand, some are best executed with CAD/CAM and CNC. I like most craftsmen, am willing to learn and adapt to achieve better results.