I reciently found a research paper on the precise thicknesses of both top and bottom plates of over 100 of the most famous violins. In looking at those maps, I'm seeing what is being described here. Absolutely facinating. Thank you.
Again this was an interesting video. Thanks for sharing some of your current pieces of work. I appreciate that you pointed out the differences for violin viola and cello. Thanks.
Thanks for this essential info. I used to bring some projects to my luthier, and she would push one or two away and say “I don’t want to even see these ones here. Take them awau.” Now I can see why (She is trained in Cremona under Bissolatti) .
It is very interesting to compare different violin making schools, it helps to know not only how a luthier work but also how a luthier think. Very good video !
When you went to the museum to see the Testore out of its glass case I was surprised by the extreme shape of its arching. This video explains why it was done that way. With the Testore I was surprised by the warping of the peg box and probably part of the neck. I just assumed they used very dry wood, but as you said some of their wood was quite green.
Thank you very much for explaining all this as arching for beginners can be difficult to imagine how it should be shaped while doing the carving. Can you tell be what was the mechanical device you used that enabled the pencil to be moved up and down?
HI Edgar. Watched a few of your videos. Appreciate how you're wiling to share...but I have a question. Might be a little uncomfortable. Q: What happens if one of your works you shipped to a customer arrives damaged. Unplayable. What happens then? Do you send the customer a replacement free of charge? And how do you ship your works of art to make sure that never happens? Or isn't possible.
Thanks for the interesting information concerning this complicated topic! I was wondering what your thoughts are concerning the narrow and high arching of Amati (tenor) viols?
Hi, thanks for the videos very helpful! I would like to ask, I have an antique Steiner violin, its sound is deep and warm but hollow..it is neither solid nor meaty, even though I built a sound post for it perfectly and a good deluxe bridge, what else can be done to get a firmness and solidity of sound? Thank you
Fascinating. Is there a problem getting really good wood? I know bow makers are hoarding all the pernambuco they can get. I also think that a well engineered violin or cello needs a lot of time and playing to open up the sound to create the complexity.
A great instrument should sound great from the vey first ay.I don't believe in miracle of the future and I suggest everyone to make a step back if someone says it will sound better in future. It is true that the sound is changing especially in the very beginning, but a good and honest violinmaker should also take his time to adjust it right away. Which ends up that in the first months of a new born the maker needs to take /spend more time to adjust and make the best out of his work...........a little like humans, small children,......
actually. you should try to make 2 violins, 2 backs from same tree, same year, top as well 2 tops from same tree and same year, as well as the corner blocks as the bassbar, and then build it with the different arching, oh yeah, and the soundpost ofcourse
The best route to becoming a luthier is violin making school, though almost all schools to my knowledge do require students to be 18. Though if you’re seriously considering it, use these years to advance your woodworking, carving, and hand tool skills. That’s the route I took. I started woodworking in high school when I was 15, finished my first violin at 17, and started at violin making school when I was 18.
Hi, Pedro! What a great challenge you feel already, Pedro! I was educated: Do what you love and you will have success! I completely agree with Statsomatic’s comment! There is no limit of age to build your first violin. Get started and continue meanwhile with your school. My only advice to face Violinmaking better is: learn also as many languages as possible! I am looking forward to welcoming you here in Cremona. All the best ER
hi there, I have a Guaneri of Mantua and the violin is extremely arched and the top plate almost is touching the fingerboard. would you recommend to let a luthier flatten it. thanks
Sounds interesting! But I wouldn’t flatten any arching of an antique instrument. Maybe by the time you have to change fingerboard I would consider to get the neck set not so deep inside. In that case you solve the problem. Hope this answers your question. All the best ER
Great video, and a question I've been thinking of a lot. Now, I suppose you make your archings by eye, but as a beginner it's my impression that it's best to use a template. How would I go about making an arching a different height than the original? I want to make the same model of Vuillaume cello as I have already made, but apart from generally working cleaner, I want to make the archings higher, as the top of the original is very flat, leading to a very powerful sound, but it seems to lack some complexity and warmth.
Without seeing exactly what you have made it is a little difficult for me to give you precise advice. For now I think the best advice I can give you is: make make make and keep on doing!
Yes, I think you're right... Maybe you had some way of determining the exact shape other than by eye. Frankly, I don't mind working by eye, I'm more worried that it'll be frowned upon by actual luthiers if I do, and then I can't get proper feedback from them because of it :-P My current violin has been on hold even though it was supposed to be a fast-ish build to test out my new model. But that one I was/am arching by eye, and I think it's actually turning out okay. Can't wait to carry on with it :-)
Thanks for sharing with us.
I reciently found a research paper on the precise thicknesses of both top and bottom plates of over 100 of the most famous violins. In looking at those maps, I'm seeing what is being described here. Absolutely facinating. Thank you.
Again this was an interesting video. Thanks for sharing some of your current pieces of work. I appreciate that you pointed out the differences for violin viola and cello. Thanks.
Thanks! I am happy to hear that you liked even this one! 😃
All the best
ER
Thanks for this essential info. I used to bring some projects to my luthier, and she would push one or two away and say “I don’t want to even see these ones here. Take them awau.” Now I can see why
(She is trained in Cremona under Bissolatti) .
Super Interesting! Thank you!
It is very interesting to compare different violin making schools, it helps to know not only how a luthier work but also how a luthier think. Very good video !
Very interesting topic! Opened my eyes now looking for many books to aquire for this adventure!
I wish there was a double thumbs up! Excellent!
😂👌🏼
When you went to the museum to see the Testore out of its glass case I was surprised by the extreme shape of its arching. This video explains why it was done that way. With the Testore I was surprised by the warping of the peg box and probably part of the neck. I just assumed they used very dry wood, but as you said some of their wood was quite green.
thank you so much for this video. it helped me very much with my current viola top arching.
Interesting analysis. With that homemade gauge are you in fact measuring arching contours or plate thickness contours? Thank you.
Great!!
Thanks, Sergio!
Thank you very much for explaining all this as arching for beginners can be difficult to imagine how it should be shaped while doing the carving. Can you tell be what was the mechanical device you used that enabled the pencil to be moved up and down?
HI Edgar. Watched a few of your videos. Appreciate how you're wiling to share...but I have a question. Might be a little uncomfortable.
Q: What happens if one of your works you shipped to a customer arrives damaged. Unplayable. What happens then? Do you send the customer a replacement free of charge? And how do you ship your works of art to make sure that never happens? Or isn't possible.
you take about German arching,
what are their charestaristics?
Thanks for the interesting information concerning this complicated topic! I was wondering what your thoughts are concerning the narrow and high arching of Amati (tenor) viols?
Hi, thanks for the videos very helpful!
I would like to ask, I have an antique Steiner violin, its sound is deep and warm but hollow..it is neither solid nor meaty, even though I built a sound post for it perfectly and a good deluxe bridge, what else can be done to get a firmness and solidity of sound?
Thank you
Fascinating. Is there a problem getting really good wood? I know bow makers are hoarding all the pernambuco they can get.
I also think that a well engineered violin or cello needs a lot of time and playing to open up the sound to create the complexity.
A great instrument should sound great from the vey first ay.I don't believe in miracle of the future and I suggest everyone to make a step back if someone says it will sound better in future.
It is true that the sound is changing especially in the very beginning, but a good and honest violinmaker should also take his time to adjust it right away.
Which ends up that in the first months of a new born the maker needs to take /spend more time to adjust and make the best out of his work...........a little like humans, small children,......
That was very interesting again! Is the arching, especially on a cello, responsible for a wolf tone?
Liebe Grüße,
Artur
actually. you should try to make 2 violins, 2 backs from same tree, same year, top as well 2 tops from same tree and same year, as well as the corner blocks as the bassbar, and then build it with the different arching, oh yeah, and the soundpost ofcourse
The stuff You do is amazing. I watch your videos a lot and have an interest in becoming a luthier and but I am 13.
The best route to becoming a luthier is violin making school, though almost all schools to my knowledge do require students to be 18. Though if you’re seriously considering it, use these years to advance your woodworking, carving, and hand tool skills. That’s the route I took. I started woodworking in high school when I was 15, finished my first violin at 17, and started at violin making school when I was 18.
Hi, Pedro!
What a great challenge you feel already, Pedro!
I was educated: Do what you love and you will have success!
I completely agree with Statsomatic’s comment!
There is no limit of age to build your first violin. Get started and continue meanwhile with your school.
My only advice to face Violinmaking better is: learn also as many languages as possible!
I am looking forward to welcoming you here in Cremona.
All the best
ER
Statsomatic exactly!
Thank you Edgar
Thanks for the insight. I am starting to improve My wood working skills.
hi there,
I have a Guaneri of Mantua and the violin is extremely arched and the top plate almost is touching the fingerboard. would you recommend to let a luthier flatten it.
thanks
Sounds interesting! But I wouldn’t flatten any arching of an antique instrument. Maybe by the time you have to change fingerboard I would consider to get the neck set not so deep inside. In that case you solve the problem.
Hope this answers your question.
All the best
ER
Do you actually carve the arches?
Great video, and a question I've been thinking of a lot.
Now, I suppose you make your archings by eye, but as a beginner it's my impression that it's best to use a template. How would I go about making an arching a different height than the original?
I want to make the same model of Vuillaume cello as I have already made, but apart from generally working cleaner, I want to make the archings higher, as the top of the original is very flat, leading to a very powerful sound, but it seems to lack some complexity and warmth.
In my copy, obviously. The original sounds amazing :-)
Without seeing exactly what you have made it is a little difficult for me to give you precise advice. For now I think the best advice I can give you is: make make make and keep on doing!
Yes, I think you're right... Maybe you had some way of determining the exact shape other than by eye. Frankly, I don't mind working by eye, I'm more worried that it'll be frowned upon by actual luthiers if I do, and then I can't get proper feedback from them because of it :-P
My current violin has been on hold even though it was supposed to be a fast-ish build to test out my new model. But that one I was/am arching by eye, and I think it's actually turning out okay. Can't wait to carry on with it :-)