Violin saddle from start to finish (condensed)
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- Опубликовано: 14 окт 2024
- (Italian translation below the English text)
The saddle can be made in many different ways as long as it fulfills its main function which is the mechanical one of supporting the pressure exerted on the edge by the wire of the tailpiece (tailgut). However, it also has an effect on the acoustic response because its height will affect the angle of the strings on the bridge and therefore the resulting pressure of the bridge on the plate. I prefer to do it only up to half the thickness of the edge without cutting the plate completely to prevent the formation of cracks on both sides (typical of many ancient violins) and to increase the gluing surface (which will thus be almost doubled) to prevent detachment that could be caused by the twisting moment exerted by the traction of the strings. For this reason, it is very important to distribute the pressure as evenly as possible by creating a curve approximating an arc of a circle without angularity, especially at the exit point at the apex of the nut. Also leaving a minimum space of about 0.1 mm (the thickness of a sheet of paper) on both sides is equally important to prevent the formation of cracks, considering a possible shrinkage of the plate over time or with variations in ambient humidity. The height (protrusion from the plate) can be varied according to the height of the arching, increasing it with higher archings and decreasing it with the lower ones to keep the angle of the strings on the bridge on values that I consider ideal of 157/158°.
Capotasto inferiore di violino dall'inizio alla fine (condensato)
Il capotasto inferiore si può fare in molti modi diversi purchè assolva la sua funzione principale che è quella meccanica di sostenere la pressione esercitata sul bordo dal cavetto della cordiera. Ha però anche un effetto sulla risposta acustica perchè la sua altezza andrà ad influenzare l'angolo delle corde sul ponticello e quindi la risultante pressione del ponticello sulla tavola. Io preferisco farlo solo fino a metà spessore del bordo senza tagliare completamente la tavola per prevenire la formazione di crepe sui due lati (tipiche di moltissimi violini antichi) e per aumentare la superficie di incollaggio (che sarà in questo modo quasi raddoppiata) per prevenirne lo scollaggio che potrebbe essere causato dal momento torcente esercitato della trazione delle corde. Per questo motivo è molto importante distribuire in modo più uniforme possibile la pressione realizzando una curva approssimata ad un'arco di cerchio senza angolosità specialmente sul punto di uscita all'apice del capotasto. Anche lasciare un minimo spazio di circa 0,1 mm (lo spessore di un foglio di carta) sui due lati è altrettanto importante per prevenire la formazione di crepe, considerando un eventuale ritiro della tavola nel tempo o con le variazioni dell'umidità ambientale. L'altezza (sporgenza dalla tavola) può essere variata a seconda dell'altezza della bombatura, aumentandola con bombature più alte e diminuendola con quelle più basse per mantenere l'angolo delle corde sul ponticello su valori che considero ideali di 157/158°.
Index of videos - English: davidesora.alt...
Italiano: davidesora.alt...
#costruzioneviolino #violinmaking
Hello David I used to have a work bench just like that but all my stuff is in storage and got stolen my safe my workbench all my violin tools everything I own was in there 39 years of work 11 violins I built plus some pretty old ones from 1732 I was restoring 4 years ago haven't seen it since videos I've learned a lot from you I do appreciate it thank you much Terry Farrell Farrell violin so far as grounds and built just enough tools to start building again thank you for all your videos Terry
I'm sorry to hear about the theft you suffered, it's a very sad and nasty thing. I wish you all the best if you decide to start making violins again
Realmente se me puede considerar un fanático de su trabajo Señor Davide. Su nivel de maestría es una inspiración para mi, que estoy empezando a construir un violin. Su generosidad al compartir sin guardarse secretos pocas veces lo he visto, pero la belleza de lo que comparte es incluso superior.
There is so much care in it and the details are so beautiful, amazing work as usual!!
Очень качественное и подробное изложение процессов изготовления скрипок! Большое спасибо за уроки и знания, которые Вы несёте в массы!
It's great to do your best to make a violin.!!
That's my goal😊
Complimenti 💯💯🎻🎻
Hello. Many thanks for sharing your knoledge. You really done perfect job as usual. I'm using your video and a very old book to build my first violin as amateur. Thanks again.
Good luck with your first violin, enjoy the experience!
Thank you master ! Good contents . Very good.
In case you didn't already know, this video is just a condensed version that brings together the five most detailed videos with instructions (translated into English in the description below each video) describing the making of the saddle. If you are interested you can find them gathered in this playlist: ruclips.net/p/PLaxadm6POX7FXNkLcNiboD1Vo_zDOdGgc
On my website you can also find the complete index of all my videos on the construction of the violin: davidesora.altervista.org/videos/
You make amazing videos!
I was wondering what are those elements that create sound in violin.
I am sure I am not allowed to call it violin when I used different technique and other woods I found to be used. Appletree, pruce and alder.
I carved the thick alder to have ribs as a bowl, and then made the top "normally" from pruce.
It is my first violin-like object I have made, and it sounds quite good, as made by me, I mean.
It is heavy though, due it is made from one block of wood for the most part. I got the chance to study what is needed to create sound space like that.
Thanks!😊
All the elements of the soundbox contribute to the final sound of the violin, with the plates as the main responsible, both the top and the back but also the ribs with the elasticity of their structure, without forgetting the bridge which is the first filter between the strings and the top. Then there is the very important sounpost, which is not by chance called "anima" (soul) in Italian . Then it depends on what kind of sound you expect, even your violin with back and ribs in one piece with only the separate top will sound like a violin, but I don't think its response and tone will be appropriate for playing Sibelius or Tchaikovsky.😊But it might be good for other kinds of music. However, the lightness of the structure is important for quick response to the bow and for an open and clear timbre, as well as not to tire too much the violinist. Keep in mind that a Stradivarius rarely exceeds 400g in weight, with the strings and all the rest of the setup, and I would consider a violin weighing over 450g too heavy.
@@DavideSora Thank you for information that I read with humble mind and great gratitude!
With that information you gave me path to respect traditions more.
I shall soon build another violin-like this all in mind.
Thank you for your time,
With great respect,
~Jenni Holopainen
👏👏👏👏 Fantástic
lindo demais...
Умения есть, но главное отсутствует. Все конструктивные детали нужно использовать для доведения звука до идеала. Мастер этими знаниями не владеет.
I'm curious. Why do you say this, and what elements lead you to make these statements? I don't seem to know you, and you've never been to my workshop to try one of my violins. But maybe you're just a wizard predicting things through the crystal ball.😅
@@DavideSora Главная проблема мастера, как использовать конструктивные недостатки для стабилизации звука. Ведь хочется предвосхищять результат. И вы уверены, что Страдивари об этом не думал? Или вы знаете как это использовать. Я слышал, когда вы писали свой звук из вашей работы, и этого было достаточно. Вы не можете владеть секретами технологии звука, а умения плотника у вас прекрасно работают и я рад за вас. Но скрипка это не только сувениры на Рождество.
@@НиколайГеоргиевич-ю3д Sorry, but I don't know Russian, and I honestly can't make an argument based on Google Translate.
Perhaps if you made an effort to write in English we could communicate better and avoid misunderstandings. Reading the translation, it seems to me that your speeches do not make much sense, but I suppose it is the translation, otherwise, I should think that you want to discredit my work without even telling me who you are, if you are a luthier, a musician, a sound engineer, a simple music lover or whatever. Each point you raise (provided that the translation is correct) would have different meanings depending on your background, and I would have to answer differently knowing who actually is hidden behind a nickname. So, I'm sorry you don't like my work, but this is normal, every violin is different and everyone perceives the sound differently or simply have different taste. Anyway, I can live peacefully even without your approval, luckily I have many others who appreciate my work, and above all that I know who they are, and I know that they play or have played my violins. This is enough for me, I can't please everyone, I make very few instruments because I work alone, and I have such a long waiting list that I don't know if I'll even be able to finish it. Maybe this has a meaning, or maybe not, we don't all think the same way. Believe me, I say all this without any hatred towards you, I would like to better understand what you are saying, and what your motivations are, but I would also like you to make constructive criticisms that can help me improve. Otherwise I wouldn't waste time replying to you, I could just delete your comments or ban your address, but I don't want to. However, I would like to have a constructive discussion, not an exchange of insults. Just saying that my work sucks just makes me smile because I know it's not true.
Sei sempre un Signore !! Anche a rispondere cortesamente a certe domande assurde!! Ti ammiro molto Davide!! Bravo come sempre!!❤️🥇❤️