Violin bridge from start to finish - Ponticello di violino dall'inizio alla fine
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- Опубликовано: 30 май 2022
- A step-by-step description of the work, with captions explaining the various phases and the tools that are used, can be seen in the videos of this playlist:
• Ponticello di violino ...
Una descrizione dettagliata del lavoro, con didascalie che spiegano le varie fasi e gli attrezzi che vengono usati, si può vedere nei video di questa playlist:
• Ponticello di violino ...
Index of videos - English: davidesora.altervista.org/vid...
Italiano: davidesora.altervista.org/video/
#costruzioneviolino #violinmaking
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This is only a summary video in a condensed version. A step-by-step description of the work, with captions explaining the various phases and the tools that are used, can be seen in the 14 videos of this playlist: ruclips.net/video/8F6GV3b6KZk/видео.html&pp=gAQBiAQB
Find the English translation of the captions on the video description page.
Questo è solo un video riassuntivo in versione ridotta. Una descrizione passo passo del lavoro, con didascalie che spiegano le varie fasi e gli attrezzi utilizzati, è visibile nei 14 video di questa playlist: ruclips.net/video/8F6GV3b6KZk/видео.html&pp=gAQBiAQB
THIS IS NOT A GOD JOB, THIS IS "ART".
OMG, what a craftmanship! Have never seen such before......Congrats to your passion! Helmut
It's really impressive. Detailed work and craftsmanship.
I learned a lot from your work.
Never imagined a violin bridge can be so beautiful like this.
Thank you very much.
This is precisely why handmade items are worth the extra cost.
But where do I find them for purchase?
¡Soberbio! ❤
Che lavoro mamma mia!! E che precisione!!Sempre grande maestro!! Grazie!❤️🥇❤️👏🏻👏🏻
thank you very much for the master class, this is the best lesson I've ever had!You are a great master, you have excellent tools!
Maravilloso trabajo. Estoy impresionado con el detalle. Grande Maestro !!! desde Chile.
Una obra maestra,gracias al canal por tan maravilloso video
bravo bravissimo maestro!!! Non mi stanco mai di guardare i tuoi video. Sei un insegnante di insegnanti Saluti dal Messico.
Really beautiful shape cutouts! Unique and artistic, and I'm sure the sound is equally great.
Un trabajo tan meticuloso,la talla hermosa que le dió,me quede con las ganas de la prueba de sonido,pero es un gran y hermoso trabajo,felicidades un saludó grande.
My deepest thanks. The one i carved last summer has proven itself! I am working on second measured bridge hovwever this second bridge i forgot to measure, so finishing by feel and memory. I look forward to getting proper knives for the proceedure. Your vidio extremely helpful I consider it the bible of bridge carving!😅
Mille grazie. Wonderful insights - thickness/distance measurement with the calipers, measuring the string action, marking the bridge curvature by measuring off the finger board. Much appreciated.
This is just a condensed video, mixing several step-by-step bridge-making videos. If you are interested in learning more you can find them all in this playlist: ruclips.net/video/8F6GV3b6KZk/видео.html&pp=gAQBiAQB
Very good nice fitting & shaping of the Violinist Bridge in all respect, good luck, best wishes
Mille grazie Maestro Davide!!!
Such beautiful work
Beautiful work!
Precioso! Gracias por compartir.
Your work is excellent !
Thank you!
Very impressive - the details and measurements are excellent.
Thanks!
This video is just a condensed version, if you are interested in further details you can refer to the complete video series (14 videos🙂) : ruclips.net/video/8F6GV3b6KZk/видео.html
very enlightening
Thank you
Master piece.. 💐👍
Precise work !
Fantastic video.
excellent work ❤
I literally just finished making my first bridge out of Australian bottle brush that I had left over from pruning. It's a harder timber but gives a bright, crisp sound.
The bridge has a decisive influence on the sound and in particular on high frequencies, maple is the most used and most tested wood, especially for a sound linked to classical music, but this does not mean that other types of wood cannot give results equally interesting. Experimentation is always the key, the ideal would be to make a traditional bridge in maple and others with different woods, so as to be able to compare the results on the same violin
@@DavideSora I do plan on doing this but I do talk to a guitar luthier regularly about this sort of thing. The interesting thing is that many classical guitar players consider instruments made from Australian timbers to project and give instruments unique tonal qualities, among these of course is Anna Vodovic and I often wonder why these species haven't made it into bowed strings as far as classical repertoire. I plan on making some more bottle brush bridges and some mulberry, I certainly prefer my bottle brush bridge over my violin's maple bridge.
@@jonathonaltmann4493 I have always encouraged the use of local woods, European maple is the most used because it has been tested for centuries, but when this experimentation began, Australian woods were certainly not available here in Europe, so who knows what would have happened if they had been available to the luthiers of the sixteenth, seventeenth and eighteenth centuries🙂
Beautiful!
Thanks for this video! The bridge of my violin was badly places and this really helped me to place it correctly. I even made my own video about it ;-)
Yes, if the bridge is not in the right position the relationship with the soundpost is no longer adequate, and even with small changes in this distance, the sound can suffer a lot. However, some older violins have the bridge intentionally placed in a different position with respect to the F inside notches, usually to compensate for too long a vibrating string, so the soundpost could be placed accordingly. Moral: Always check the bridge/soundpost relationship after moving the bridge. But if the sound of your violin has improved after bringing the bridge back to the correct position, it is a clear symptom that there is no problem with the soundpost. To get an idea of the correct soundpost position you can watch this video: ruclips.net/user/shortsALodkm5uF8s
keeping in mind that each violin will need a slightly different position based on its acoustic response and construction characteristics
Grazzie Maestro!
شكرا جزيلا على هذا الفيديو.
You're welcome.
Not sure why RUclips's been hiding your channel from me... but I'm very glad to have found it now. Great stuff.
How did RUclips hide my channel from you? Maybe some of my old videos may not be visible in certain countries due to music copyright issues, but the channel should always be visible everywhere to everyone
@@DavideSora I suppose I mean that I'm surprised it wasn't recommended sooner.
Masterful
WOW! Great video! Thank you for posting. I would have like to have seen a unfinished stock bridge next to your finished bridge.
Thanks!
All your wishes will be fulfilled! You can see it in this video: ruclips.net/video/9P8n46DOaDg/видео.html
Seriously, my videos titled "from start to finish" are just condensed versions to make the viewing time shorter and less boring, but if you are interested in the details you can watch the complete series of 14 videos on bridge cutting and all related aspects, which you will find gathered in this playlist: ruclips.net/p/PLaxadm6POX7EjpjW2BpAr1d_U8ITO5GFP
Enjoy! it's all free🙂
@@DavideSora Thank you!
Brilliant
Hello, thanks for the great video!
Just wondering what are those powder used in calibrating the bridge feet?
Red chalk. A simple blackboard chalk, crushed and pulverized. You have to make sure it is the dry type, without any additives like waxes or fats to make it softer as some artist chalks have.
You can see it in more detail in this video:
ruclips.net/video/jA5_5GiQm-Q/видео.html
Im curious how one knows if arms, legs and the heart of the bridge can be made even thinner so there is even less loss of energy from strings to top plate. I wonder if there were any physicists (or amateur experiments) who made public studies in whats the most efficient shape in relation to wood density before bridge will become too weak.
The dimensions of the various sections of the bridge can (and should) be optimized according to the response of the violin. There are many scientific studies on these aspects of bridge, but no one can give precise recipes because, in addition to the properties of the wood, the results are variable based on the characteristics of the violins, which are never the same. So the best system remains that of try and error, starting with a stiffer bridge with wider sections and modifying it little by little according to the acoustic response of the violin to which you are adapting it. It is a process that requires experience and often requires adapting more than one bridge to get the one that works best on that particular violin and for that player, because the sound has a component linked to personal taste that remains essential. If you are interested in scientific studies you can start with these which are available on the web for free:
hrcak.srce.hr/file/346888
oosterhofonline.net/pdf/Bridge_wood_removal_Rodgers.pdf
vsapapers.org/index.php/journal/article/view/4/13
You can find many others by searching the various scientific publication sites by paying modest amounts of money, such as this:
iopscience.iop.org/article/10.1143/JJAP.41.6291/pdf
I would google Joseph Curtin. He very probably has written on that very subject with the Acoustic Cat Gut Society, or whatever they’re called.
@@johngeddes7894 Thank you. After experimenting with carving bridges to as thin as possible. I understand now why people don't do it. If one removes too much mass, the dynamics range will decrease. So pianissimo becomes louder but fortissimo stays the same. It's harder to play quiet and control dynamics. For the sound it is similar as if one would use "Compressor effect" digitally. Thus certain amount of resistance (more mass) is desired in bridges.
thanks for sharing your knowledge. would you be so kind to tell what kind of tape you use for the E string groove? Thank you!
It is natural parchment.
www.cremonatools.com/parchment-for-bridges-violin-viola-50pcs.html
@@DavideSora I see, thanks again!
Que bella obra de arte Maestro,imagino que son años de conocimientos y una técnica exquisita y depurada para lograr tal resultado,yo he intentado ajustar mis puentes,pero no logro a tener resultados óptimos en el sonido final,hay desequilibrios en intensidad y textura lo que me ha llevado a hacerme muchas preguntas :
-Cuánta madera hay que sacarle al puente ?
-el acabado final del corazón,oídos y patas a solo estético o afecta de igual forma al sonido ?
-hay una tabla de medidas de grosor establecidas ?
-Están relacionados el grosor de las tapas del violín con el del puente ?
Un fuerte abrazo desde Puerto Varas Chile!!!!
(Sorry if I answer in English, but in this way others will be able to read my answer. However I don't speak Spanish and I should have trusted the google translator to write the answer, and I don't know if it does a good job...)
First of all, this video is only a condensed version, you will probably find many of the answers to your questions in the detailed series of all videos on the bridge, which I have collected in this playlist:
ruclips.net/p/PLaxadm6POX7EjpjW2BpAr1d_U8ITO5GFP
For example, in this video of the series you will find the indicative measures: ruclips.net/video/9P8n46DOaDg/видео.html
However, there are no fixed measurements, but each violin will need slightly different measurements to adapt the bridge to its construction geometry and sound response. The finish of the various elements (heart, kidneys, legs, etc.) mainly has an acoustic value, the aesthetic is only a consequence. By changing these cutouts you can adjust the response of the violin, especially in the high frequencies range. The wood to remove compared to the initial bridge blanks is a lot, to give you an idea its weight is reduced to almost half of the initial weight, but this obviously depends on how your bridge blanks are made, not all of them have the same raw dimensions when you buy them. However none of the surfaces of the bridge blank will remain intact, all will be trimmed to some extent. The thickness of the plates doesn't have much to do with the bridge, at least not directly. The sound of the violin will dictate how to make the bridge, and also geometric aspects such as the inclination of the fingerboard for the height and the position of the bassbar and the distance between the upper eyes of the Fs which will be considered to determine the width of the feet.
Making a good bridge that works well and lasts over time requires a lot of knowledge of the aspects involved, which are many, which is why the ideal would be to entrust the job to an expert professional violin maker.
I look forward to any further detailed diagrams or vidio you might share. Master!
If you are referring to the bridge, this is only a summary video in a condensed version. A step-by-step description of the work, with captions explaining the various phases and the tools that are used, also with diagrams of the various measurements and how to detect them, can be found in the 14 videos of this playlist: ruclips.net/video/8F6GV3b6KZk/видео.html&pp=gAQBiAQB
Find the English translation of the captions on each video description page.
If you were speaking in general, I will certainly make other videos, but you can search for the many that I have already published using the general index with direct links to each video, which I have put on my website. In fact, only up to a maximum of 200 videos are visible on the RUclips channel, the others are present but not all visible on the homepage. You can find the index divided into various topics here:
davidesora.altervista.org/videos/
Shame there's no explanation of what you're doing!
This is only a summary video in a condensed version. A step-by-step description of the work, with captions explaining the various phases and the tools that are used, can be seen in the 14 videos of this playlist: ruclips.net/video/8F6GV3b6KZk/видео.html&pp=gAQBiAQB
Find the English translation of the captions on the video description page.
Beautiful carving knives, where are you purchasing them?
For the knives I only purchase the raw blades. The wooden handles, and of course the shape and sharpening of the cutting edge are made by me. The blades come from different manufacturers, a couple are John Schmidt's PM-X steel, one is an old Pfeil and one is made from an old circular saw blade. In any case, any good quality blade will serve the purpose well, if shaped and sharpened correctly, which remains the most difficult undertaking
I saw an ebony bridge for sale....good resonance or not?
Ebony is too heavy to be suitable for bridges, so I suspect its effect on sound will not be as good as that of high-quality maple specially selected for bridges. However, I've never tried ebony (and honestly it's not in my plans) so I can only guess, but I wouldn't give it much of a chance🙂
Bravo
How much they will charge for, bridge work in Canada ..? Any idea.
I'm sorry, I have no idea. But I think that as everywhere the price will vary according to the workshop that will do the work (name, experience) and also according to the quality of the violin on which the bridge will go
too much
from minute 0:15 , Is the wood as hard as Xylophone wood?
The wood is maple, quite hard but a little less than those used for the Xylophone, which would be too heavy for a violin and would not work well for a violin bridge. Maple is ideal because it is light and hard, just the right mix of properties to get a good classic violin tone.
Hello. How do you know that a bridge of a good quality of wood? I got some from a local shop. They seemed to be OK but turned to be soft maple wood. All of my installed bridges went bent a lottile in a year or two.
Understanding if the wood is of good quality is a matter of experience, but it is possible to get an idea by observing the compactness of the grain and, above all, the direction and sharpness of the medullary rays, which must be long and continuous by observing the bridge from the side and as narrow and sharp as possible by observing the bridge on the faces. This would most likely indicate a hard and stiff wood, although sometimes a softer wood may be needed for example in the case of violins that are too harsh in the high frequencies. As for the bridge bending, the cause is often an incorrect inclination of the bridge with respect to the vertical. In fact, with the tuning, the strings will tend to pull the bridge forward, which, if it is not brought back to the correct position, will inexorably bend in a short time. A properly cut bridge held in the correct position (tailpiece side perpendicular to the line of the ribs, i.e. to the gluing line of the top plate) can last many decades before starting to bend.
@@DavideSora do you have fingerboard radius 42 mm?
@@los5mandarinas I make my fingerboards with a composite radius, one at the nut, one in the center and one at the end of the fingerboard. Only the radius at the nut is 42mm. You can see how I make the fingerboards in this condensed video: ruclips.net/video/fc8GM2DzFa4/видео.html
If you like to see more details check out the full series of videos, from which the previous one was taken:
ruclips.net/video/-8B2Oju-AiE/видео.html
@@DavideSora Thank you very much for this explanation !
Also, would it be inadequate of me to ask who is your bridge provider ?
Looks like Aubert or Milo Stamm stamp but it's hard to tell from this angle/distance.
I'm glad I watched this video, and it would seem you uploaded plenty more videos, I'll be sure to watch them all. Your jigs are really great too and inspiring, thank you again for sharing your knowledge !
Hello friend, very good work and very well detailed, the violin bridge, would you be so kind as to recommend me where I can get the stamp that puts on the bridge?
I had the brand made by a stamp factory, any stamp and plate shop can do it, just specify that you need a fire brand. There are also artisans specializing in fire brands, if you do a google search you will find several.
Of course you will have to put your name not mine, Davide Sora is an officially registered trademark and its use is under strict surveillance
😉🙂
@@DavideSora Thank you very much my friend, sorry for not specifying, my intention is to make my own cello under my name, that's why I asked you where I send you to make it. My label is F.CENDEJAS
@@franciscocendejas1226I was just kidding, I knew you'd put your name on it😅
If you do a google search for "electric branding irons for wood" you will find many that can do it for you including the electrical part. Mine is an old brass brand made here in Cremona almost forty years ago, in a small shop that makes nameplates for doorbells and stamps, which I adapted to an old soldering station for electronic components
@@DavideSora Thank you very much teacher in truth I thank you very much for your understanding and much more for your time to answer me thank you I will search for you and indicate me in google thank you friend
I never knew all that was involved in a violin bridge. Wow! how does one know when to quit carving?
Rocking frequency, material properties, and weight can give a clue ( ruclips.net/video/9P8n46DOaDg/видео.html ), but it basically depends on the sound of the violin the bridge was made for. The best thing would be to keep it slightly oversized, try the violin, and make changes to the bridge according to the result and expectations of the player/owner.
Of course, experience is needed to know how and where to intervene, and it can often be useful to cut more than one bridge to obtain the desired results, so as to be able to evaluate the acoustic effect of different bridges on the same violin. It is not something feasible for a factory or low-cost violin, but for fine violins it is the most sensible thing.
@@DavideSora Thank you Davide. By the way, have you seen Kevinleeluthier saying the bridge side of the tailpiece should be a little less than 90 degrees? I guess this is how Paganini had his violin set up?
@@TNungesser I don't know Mr. Lee personally and I don't want to criticize him, but I often find myself disagreeing with what he says, I may agree with some things but others just don't make any sense to me, bordering on misinformation. 😐
As for the bridge, tilting it back (toward the tailpiece) to bring the rear face into the bisector of the string angle might sound sensible, but it's actually a great prerequisite for seeing it bent back in a short time.
I think that at most it is the front face that must be on this bisector, but in reality it is a theoretical condition that is difficult to obtain or even just to verify in practice, also seeing that each string has a slightly different angle on the bridge and that the angle of the neck, the height of the bridge and the height of the saddle can vary instrument by instrument modifying the general set-up. In my experience, bridges made as you see in my video don't bend in any way when properly made and maintained, and another thing I've noticed is that leaning the bridge backward (towards the tailpiece) can cause problems when playing with the bow very close to the bridge ("sul ponticello"). So to me it's a "no-no", and I don't think Paganini's bridge was angled that way. Together with the violin the original bridge and fittings that he used are preserved, and observing how the feet are cut it seems that it was with a normal inclination (rear face vertical) even if it is difficult to understand this with certainty due to wear. It is also quite different from modern bridges, it can be classified as a transitional bridge between the baroque shape and the modern shape (it has no heart and has very small feet). Where does your guess come from?
@@TNungesser. You make one, fit it, play it , think about it……then you make another and repeat the process. Then you make a third…..and then you decide.
On a dark sounding, bassy violin this is done, most often on a Guarneri del Gesu model violin. It helps to give a little more bite and clarity to the violin that needs it. I wouldn’t do it on a bright sounding violin.
😅素晴らしい仕事、これぞ職人技です。
この工程の半分位で高額な工賃を取る工房が多い。
👍👍👍❤
I just put my first bridge on. Question: When you are finished and have it in place and the violin doesn't sound like you want it to , is it then you realize you took off to much or you need to reshape it more and in what area.? I tried to match the one that I replaced. I do think I can do better next time and may geta dozen of them and work on it, But what I'm not sure of is on what part of the bridge is vital to making sure the sound is functional.
Simplifying to the extreme, the most sensitive area is the waist, but the distribution of masses and geometry introduce many variables. A bad fit of the feet is the first thing that could compromise the sound. In short, it is too complex to put it in a post on RUclips, many articles have been written on this topic that could be useful for you to get an idea. For example this one here: fiddlerman.com/wp-content/forum-media-uploads/elcb/2021/04/Bridge_wood_removal_Rodgers.pdf
or this other one here: www.mdpi.com/1424-8220/13/11/15290
You will find many other interesting articles on the violin bridge in the references paragraph of these two articles.
Lot of pages to study, I did. Unfortunately, experience and many bridges for many violins play a decisive role in obtaining the necessary sensitivity. Bridge and set-up are the hardest parts to learn in violin-making.
@@DavideSora Thanks... I got everything I need to shape the piece of wood. I certainly got some reading to do. After I read all of this maybe my question as to Why don't they already come (Other than than the feet ) ready to go? Seems to me they are leaving it up to you to reach a sound that you prefer. Taking wood off here and there seems to be arbitrary. I see you measuring. Is it the same for each bridge? or do you just hope? It's an ole fiddle I got ...I put new pegs on it, new bridge, strings, sound post is perfect...sounds better than it did... but just wondering if I can make it sound better..it maybe all she can give...again thanks for your input.
@@DavideSora This is from what you sent me....
Consequently, a maker
trimming a bridge does not have to be concerned that his work
will change the nature of the bridge as a vibrating system.
Thus, the options now used by violin makers appear to
make substantial reductions possible in all three bridge frequencies and offer ways to reduce frequencies selectively. It is
no wonder that the advice received from makers was difficult
to understand.
@@fordjubilee As I was saying, it's complicated, you need experience and a good dose of trial and error to acquire it
@@fordjubilee In this video ( ruclips.net/video/9P8n46DOaDg/видео.html ) I indicate two sets of measurements, which indicate the minimum and maximum of my preference.
Consequently, you can deduce that I don't always use the same measurements, because there is a need to adapt them to the properties of the material (as usual, two pieces of wood, and this also applies to bridge blanks, will never be the same), and to the sound we like, what is best is not the same for all of us. Then, it seems to me that some can never be satisfied with what they obtain, thinking that something can always be improved simply by modifying the bridge or the position of the soundpost, when often the limit is the violin we have. In fact things can be changed, but not always for the better, or simply obtaining different but equally acceptable sounds depending on taste. Given that you say your violin is much improved, I would not modify the current bridge but make others with different characteristics (measures, type of wood, etc.) and replace them one after the other to see what happens to the sound. In this way, you will be able to choose the bridge that gives you the best results, and if this is not the case you will always be able to restore the initial conditions and be satisfied with the improvements obtained with the first bridge. a lot of work, but very informative to gain experience. You can also modify the bridge step by step without removing the strings to eliminate the inevitable variables that this would entail, listening to what happens to the sound after each small change in the measures. This is also very informative but only from a learning perspective: at the end of the process, the bridge will be destroyed and unusable, so you will have to build another one, trying to put into practice what you have learned. It will probably be like starting from scratch because the memory of sound lasts very little (scientific fact), but you can understand which parts are most sensitive to changes, which is no small feat.
Hi - Great Work! What's the height of the wooden stick you used for labeling the height of the bridge on the E string side and the G string side? This is before you label the top of the bridge arch. Thank you!
My stick is 5mm thick on the E side and 7mm on the G side, the bridge needs to be a little taller than the finished height at this stage.
@@DavideSora Great! Thank you!
@@DavideSora I am sorry - What kind of oil do you use to seal the bridge at the end. It's hard to see it.
@@soccerplayerfan251 It is cooked linseed oil. Use it extremely sparingly, it must only seal the surface without penetrating deeply into the wood. Any absorbed oil never dries and you would risk getting a muted sound
@@DavideSora Got it - Thank you! Very helpful! Love your work!!👍
Hello! May I ask what kind of knife you use?
Those that I have accumulated in forty years of activity🙂. The bridge knives you see in the video are one old Pfeil, one has the blade made from an old circular saw blade, and two (for bridge cutouts and bridge feet) I bought some years ago from an American artisanal blade maker, John Schmidt, who uses PM-X steel, similar to PM-11. very good blades. Then I have many other blades for other knives, like the very old F&D ones, very good, the golden ones that I don't know the brand (very old) and some Japanese Kogatana
@@DavideSora Wow.👍🏻 Thank you so much for your quick and detailed reply. I‘m getting a lot of help from teacher video. I am learning by studying now. Thanks to my teacher, I can learn more in detail and enjoy learning more. Thank you for posting useful videos not only for me but also for many people. teacher is a wonderful person. Thank you.😍
would you make a mark with a sharp tool on the top of a fine violin as well in order to guide you through the process?
I wouldn't recommend it, although this is a traditional technique that has certainly been used on fine violins as well. Keep in mind that the pinpricks must only be in the varnish, not in the wood, and that on the old violins around the foot of the bridge there is no original varnish left, only touch-ups made by restorers. So, when done with common sense, the pinpricks technique is not terribly invasive all things considered. However, as an alternative, a non-sticky tape can be used to mark the position of the feet, or a white grease pencil of the type used to draw on human skin for art or make-up purposes.
@@DavideSora Nice, I use non-sticky tape
@@DavideSora Double boiled linseed oil? the bottle looks like Liquin, from Winsor and Newton 🤔
@@marcelogonzalezechazu9054 The tape works well, be sure that you can remove it without peeling off the varnish, the greatest risk of this technique. You will also need to make sure that no traces of glue from the tape remain on the surface, and that it does not contain aggressive solvents for the varnish
@@marcelogonzalezechazu9054 No, it's not Liquin, it's linseed oil. The label says "Drying linseed oil", also by Wintsor & Newton. However, I suppose Liquin could also be used, although I have never tried it because I prefer natural products. After all, Liquid is nothing more than synthetic linseed oil, precisely Alkyd resin.
Davide, grazie. Leggo sempre le tue risposte, sento che accarezzo il significato della parola liutaio e artigiano.
Puoi condividere alcune informazioni importanti sui ponti per violoncello (francesi e belgi), che ci aiutano a migliorare i nostri intagli? Inoltre, se sei a conoscenza di documenti interessanti da leggere, grazie.
peso suggerito
Forse spessa appena sotto il cuore
Messa a punto
Ciao. I ponticelli da violoncello hanno misure e dimensioni troppo variabili per poter dare sinteticamente indicazioni utili sulle misure. Ti suggerisco di consultare questo sito archive.violinbridges.co.uk/812-j-a-beare-cello/ dove puoi trovare molti esempi di ponticelli di violoncello con tutte le misure disponibii se ti iscrivi.
Hi maestro
You don't have direction for cello bridge how made
Sorry, I don't have any video on the cello bridge. Doing so would be more complicated than the violin because there are many different models, many possibilities, and many sizes. I suggest you refer to this site: archive.violinbridges.co.uk/812-j-a-beare-cello/ Many bridges with all measures indicated, and also a selection of recommended articles to read. They also make a printed book
Mia curiosità
È legno di corniolo??
No, è acero.. Il corniolo probabilmente sarebbe troppo duro e pesante per un ponticello.
Oh, i came to the comments section to find out what the red dust is for the chalk fitting of the feet, is it just plain red chalk? Please enlighten me, I'm training and struggling to get my feet to make perfect contact with the front. edit: and my teacher wants me to do it all my eye, but I secretly want something to aid me.
Yes, it's plain chalk, the type used to write on the blackboard, it must be dry chalk without wax-like additives that some artists' chalk contains. Using chalk to get a good fit is quite common in lutherie and restoration work, in this case red chalk is used but for example for the bassbar and the neck setting the more common white one is used. However, developing the ability to work by eye as your teacher says, is essential anyway, and allow you to get very close to the final result quickly and without making mistakes, chalk is only used at the end to perfect the fit to not waste time.
I honestly see nothing wrong with using it even during the learning process.
@@DavideSora Honestly, thanks so much!
Why does every one of these bridge videos start with... a bridge. Seems like it's almost ready before we got here.
So that you can see what the final result is, and skip the whole video. It seems that people have an attention span of no more than 15 seconds😅
I am viewer 10.000
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If it was truly from start to finish the video would start with an unworked block of wood.
Bridge from start to finish. Not block of wood to bridge. Bridge blanks are where you start.
it's uneven
It is, It must be
Con lija 1000al sale mejor.
El papel 1000 es demasiado fino, pero si te sientes cómodo, úsalo. Lo que ven en el video es papel 400 usado y desgastado, creo que es comparable a un 600
@@DavideSora muy amable,rebajando con afilado no pude cierto un poco más de lija 1000 para que gaste.Pregunta tengo puente original ,está poquito bajas las patitas ,uno alternativo chino que dice es Francés malograria el Sonido?? agradezco mucho su respuesta.desde Lima.Saludos.Tengo violín Steiner.
@@carlosrosasquinones4036 Lo siento, pero no es posible dar tales indicaciones sin ver el violín y el puente, sería demasiado poco fiable. Deberías llevarlo a un luthier experimentado para mostrárselo y escuchar su opinión.
@@DavideSora Le agradezco mucho su respuesta.
I'm new to the violin world, and I'm amazed of the amount of BS.
Like.. shoulder rest costing a ton of money because they are light and add to the vibration/harmonics.. Oh god. The shoulder rest sits on the body, it cannot resonate.. That's a BS argument for charging more money.
In this clip my issue is with the appreciation of handcrafting. I built myself a guitar and tested and tweaked it and measured its freq, etc. You remove a bit here and you listen and find out some freq respond better. You go even further and some other frequencies start to diminish, so you stop,. Etc. That the value of handcrafting. If you just do the shape without testing the sound step by step, there's no value in handcrafting. A laser cutter would be far superior.
Then there's the Italian issue. It seems that just because the violin is made by Italians its worth a lot more. God.. the Chinese invented paper, umbrellas, etc. Do we value an umbrella more because its made from the country it was invented? What is wrong with this violin world (society)? In the guitar world there isn't such an amount of BS..
BS is everywhere, even the guitar world is not exempt from it, as is the rest of the world. Being aware of this helps to make distinctions by directing our choices. To me, skills, honesty, and work ethic are the fundamental factors to look for.
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