🎥🎻Online violin making course: obrienguitars.com/courses/violin 👆How to make a violin? ⚒️ Some of the tools, strings and equipment I use: - Excel version: www.dropbox.com/s/c6n6zq7om6hqo9g/Tools.xlsx?dl=0 - Pdf: www.dropbox.com/s/5ua7zy0e3h2olm2/Tools.pdf?dl=0 Other media: ♦ www.lucasfabro.com ♦ Instagram: instagram.com/fabroviolins/ ♦ Facebook: facebook.com/fabroviolins/ns/
My grandpa carved my violin in 1904 with a jackknife and glass scrapers , he was twelve at the time and a full grown man hunting and trapping our family traplines ranging from Indiana to Canada. It's my most precious treasure
I bet a light dusting of talcum powder on the inside of the cover and then laying down the bass bar would reveal on the bass bar when you pick it up what parts of the bass bar touch the cover. I imagine that the parts of the bar covered by powder would be the parts that touch the cover. That might help in matching the curves between the two.
Beautiful as always! Why do you make a square-ish end to the bar rather than round? It's too late for me to copy on my violins in case you have a great reason for it, but there's always the next one! And I'm hoping that'll be a cello :-D Speaking of which, remember you told me I should definitely get the best possible wood for my next cello? Well, I've found some! Man I hope I can get it and start the cellosoon, but currently it doesn't seem like I'll be able to afford it. Not so many instruments sold during lockdown you know... A friend of mine even suggested crowdfunding it, I'm that desperate :-P But maybe I could sacrifice the nice maple and just get the top. That would be the most important part afterall, correct? Or is quality maple as important?
Now it seems like I'm getting bad at replying on RUclips as well haha. Thanks as always! I'm guessing you're asking why I only make the part of the centre very round and not the rest. And that'd have to be with the thickness of the bass bar, the flexibility I feel (if I felt it was too stiff I could remove more and make it more curve), etc. If you're talking of the very very end, the part I cut with the gouge, that's so that it's tougher for it to get unglued. It's so annoying when you see that perfect piece of wood and then you also see the price haha. But I guess this is what happens when you comment what you said in my previous video, that you were not much into money haha. You always have to have a back up for wood!! Hahaha Well, I guess they're both important sound wise, only that buying a cheaper one you could sacrifice the prettiness of the back but not the quality
@@LucasFabro Oh I see... Well, that's an interesting discussion actually. Looking at the physics, I think strength mainly comes from thickness, not the profile, but I think by making it square you support a wider strip, which could certainly affect the overtones, no? It's very interesting indeed... And yeah, you're right I'm afraid :-P I usually pay for my violinmaking with my violinmaking. It doesn't make any money on a hobby level, as you might know, but during lockdown it hasn't even paid itself. But I'm hoping I can work something out, because they are really stunning pieces. And yeah, if nothing else I'll downgrade the figuring but still have quality wood of course. That I should be able to afford. I even have a really nice maple set, but I don't think it's quite dry enough. It's from January 2018, so I wanted to leave it till at least 2023
no chalk or locating blocks? disgrace to the craft.. And an insult to Amati... actually I blame your teacher... not your fault entirely.. youre just a kid
Hi. Thanks for your comment, even if it’s a very hateful one. I’d like to ask, have you ever tried making it without the blocks ? Because I started with them as everyone else, but the first time I did it without them, I was shocked at the result and how once the bass bar is almost fully adapted to the position then it stays there and as long as I’ve marked the exact position properly, then I found it even easier to check! The blocks could make me feel sure that I was working on the right position, but then, because of that, actually end up checking less or moon worse because I relied on the blocks and that the angle of the bass bar stayed the same for instance. Needless to say that the blocks cover one part of the bass bar so I don’t know what’s happening underneath them. So if you haven’t tried it, you might want to give it a shot and maybe you’ll be as surprised as I was. Or maybe it still won’t be for you! In regards to the second part, I didn’t know I was to be blamed, and even more, that someone who doesn’t know me or hasn’t properly seen my job has the moral power to throw the first stone. But if you’re going to do so, please don’t be patronising I’m not a kid, so blame me, not anyone else. I suppose Amati will also be insulted that I didn’t make the instrument baroque and that I used an electric stove ;)
Regardless of the method used, I personally think it would have been more correct, and not only ethically speaking, to ask why Lucas did not use the usual blocks and chalk, and thus be able to start a constructive and above all respectful discussion. Actually, I have a question: What do you think Lucas about whether or not to use the classic metal frame?
🎥🎻Online violin making course: obrienguitars.com/courses/violin
👆How to make a violin?
⚒️ Some of the tools, strings and equipment I use:
- Excel version: www.dropbox.com/s/c6n6zq7om6hqo9g/Tools.xlsx?dl=0
- Pdf: www.dropbox.com/s/5ua7zy0e3h2olm2/Tools.pdf?dl=0
Other media:
♦ www.lucasfabro.com
♦ Instagram: instagram.com/fabroviolins/
♦ Facebook: facebook.com/fabroviolins/ns/
My grandpa carved my violin in 1904 with a jackknife and glass scrapers , he was twelve at the time and a full grown man hunting and trapping our family traplines ranging from Indiana to Canada. It's my most precious treasure
I feel like I'm watching a master sculptor. Pure artistry.
Thank you very much!! (As always :))
I love your videos Lucas! Keep up the Amazing work!
It turned out beautifully. Thank you
Thank you SO MUCH!!!
I bet a light dusting of talcum powder on the inside of the cover and then laying down the bass bar would reveal on the bass bar when you pick it up what parts of the bass bar touch the cover. I imagine that the parts of the bar covered by powder would be the parts that touch the cover. That might help in matching the curves between the two.
What did you wipe on during scraping?
Beautiful as always! Why do you make a square-ish end to the bar rather than round?
It's too late for me to copy on my violins in case you have a great reason for it, but there's always the next one! And I'm hoping that'll be a cello :-D
Speaking of which, remember you told me I should definitely get the best possible wood for my next cello? Well, I've found some! Man I hope I can get it and start the cellosoon, but currently it doesn't seem like I'll be able to afford it. Not so many instruments sold during lockdown you know... A friend of mine even suggested crowdfunding it, I'm that desperate :-P
But maybe I could sacrifice the nice maple and just get the top. That would be the most important part afterall, correct? Or is quality maple as important?
Oh and also... Your inner arching looks absolutely beautiful as well! I may have asked before, but is it taller than usual, the top arch?
Now it seems like I'm getting bad at replying on RUclips as well haha.
Thanks as always! I'm guessing you're asking why I only make the part of the centre very round and not the rest. And that'd have to be with the thickness of the bass bar, the flexibility I feel (if I felt it was too stiff I could remove more and make it more curve), etc. If you're talking of the very very end, the part I cut with the gouge, that's so that it's tougher for it to get unglued.
It's so annoying when you see that perfect piece of wood and then you also see the price haha. But I guess this is what happens when you comment what you said in my previous video, that you were not much into money haha. You always have to have a back up for wood!! Hahaha
Well, I guess they're both important sound wise, only that buying a cheaper one you could sacrifice the prettiness of the back but not the quality
@@Tostra1997 Oh, now seeing the other comment too! Thanks :)
Yes, the arching is a bit taller! I tend to add even an extra more for Amati models!
@@LucasFabro Oh I see... Well, that's an interesting discussion actually. Looking at the physics, I think strength mainly comes from thickness, not the profile, but I think by making it square you support a wider strip, which could certainly affect the overtones, no? It's very interesting indeed...
And yeah, you're right I'm afraid :-P
I usually pay for my violinmaking with my violinmaking. It doesn't make any money on a hobby level, as you might know, but during lockdown it hasn't even paid itself. But I'm hoping I can work something out, because they are really stunning pieces. And yeah, if nothing else I'll downgrade the figuring but still have quality wood of course. That I should be able to afford. I even have a really nice maple set, but I don't think it's quite dry enough. It's from January 2018, so I wanted to leave it till at least 2023
@@LucasFabro And you do? I thought they were quite tall already, but I guess more of a good thing to a certain extent is better :-D
no chalk or locating blocks? disgrace to the craft.. And an insult to Amati... actually I blame your teacher... not your fault entirely.. youre just a kid
Hi. Thanks for your comment, even if it’s a very hateful one.
I’d like to ask, have you ever tried making it without the blocks ? Because I started with them as everyone else, but the first time I did it without them, I was shocked at the result and how once the bass bar is almost fully adapted to the position then it stays there and as long as I’ve marked the exact position properly, then I found it even easier to check! The blocks could make me feel sure that I was working on the right position, but then, because of that, actually end up checking less or moon worse because I relied on the blocks and that the angle of the bass bar stayed the same for instance. Needless to say that the blocks cover one part of the bass bar so I don’t know what’s happening underneath them. So if you haven’t tried it, you might want to give it a shot and maybe you’ll be as surprised as I was. Or maybe it still won’t be for you!
In regards to the second part, I didn’t know I was to be blamed, and even more, that someone who doesn’t know me or hasn’t properly seen my job has the moral power to throw the first stone. But if you’re going to do so, please don’t be patronising I’m not a kid, so blame me, not anyone else.
I suppose Amati will also be insulted that I didn’t make the instrument baroque and that I used an electric stove ;)
Regardless of the method used, I personally think it would have been more correct, and not only ethically speaking, to ask why Lucas did not use the usual blocks and chalk, and thus be able to start a constructive and above all respectful discussion.
Actually, I have a question: What do you think Lucas about whether or not to use the classic metal frame?