I'm glad you noticed. You may wish to watch my video: "Violin Shop Tour 2 / Trees With Souls: Choosing and Splitting the Wood" starting at 6:35 for a little bigger "taste." I've said it (probably too many times) to visitors at my shop, "I believe that if Stradivarius were to walk in and look up at my ceiling, he would fall on his knees and weep with joy." The description of the wood in my books is not exaggerated, and the price I've paid for it is what keeps me humble/poor. :)
It occurs to me, that great instruments are as beautiful as their sounds. And, what's more, the visual character of the instrument tends to be quite well associated with its sonic characteristics.
Stradivarius worked when necks were very differently shaped. The necks on all of his instruments were drastically reworked in the 1800s to make them conform to the standard that we still prefer.
Yes. They made "most" of their violin necks to the standards of the day, yet they still altered that standard to fit the hands of those who played upon their instruments. Guarnerius seemed to be the most open minded one on this, and there were a few of his original necks that almost met the "modern" standard. Even the original neck on Paganini's "Cannon" (which is still on it, though re-fitted) was originally made slightly longer and thinner than the Baroque standard of the day. :)
@@kevinleeluthier The old style necks were shorter, yes, but a lot more was going on than that. The old necks were lower, the top of a neck was level with the top of the edge of the belly. They were lower, and they were also in a straight line with the rim of the belly. They were not angled as the current style necks are. To make up for the height difference, and the lack of an angle, the makers glued on a wedge that the finger board was then glued on top of. The whole mess was horrible to play because the wedge was significantly thicker at the base of the neck than at the nut. A player was dealing with something far worse than a slightly tapering cone in his left hand, it was a ramp like a woman's platform shoe sole from the disco era. The mess was built that way because it was easier for the builder, no concession was made for the player. Anyway, players began to complain about how bad they were to play, and builders came up with the current design. But the old violins had to be modified or nobody would ever buy a used one. They put new necks on them, but they chopped off the peg box from the original violin and glued it onto the new neck. But they didn't stop with the necks, the bass bars that the geniuses had considered perfect, were removed and swapped for larger ones. And nobody knows how much wood was scraped from the bellies and backs of the old fiddles. None of the old builders would be able to recognize the sound of their instruments after all that was done. The work of the old "geniuses" was hot rodded by people who knew at least as much about violins than they ever did.
Most of what you say is correct, except that there were exceptions to their necks, and I have played master instruments with original necks, and they are sweet, balanced, and wonderful, which was the style and "usually" the request of the day. Everyone usually lumps the master's instruments all together, yet the further you go back in history and visit the journals of the luthiers who performed the operations on their instruments, the more variety you find. Say what you may, I agree with Jacques Francais (and a dozen other connoisseurs) that Stradivarius and Guarnerius truly were artists and geniuses, and I am ever grateful for their examples. Can you tell that, even though I am a modern violin maker myself and have "won" in numerous comparisons with dozens of the master's instruments in concert halls around the world, that I still love and appreciate "most" of their instruments beyond words? = Well worth a few million dollars. :)
I debated going into more detail on this video because the shape and dimensions are actually quite complex and the sides of the neck and fingerboard are not straight (both sides taper up), but for now: The width of the neck at the edge of the "nut" is 23.4 mm and at the very end above the mortise 30.8 mm wide. The "height" or thickness of the neck without the fingerboard is measured at the end of the radius by the nut 12.1 mm, in the center 12.75 mm, and at the end of the radius by the heel 13.9. With the fingerboard's added height these numbers increase to 18.5 mm, 20.3 mm, and 21.3 mm. I hope this helps, but if not, if I have the time, I'll make a video about it as I'm finishing this next violin. My only trouble is that the more videos I make the less violins I make, and above all else, I am a violin maker. :)
Right! I know! Yet while every other part of a fine violin cringes and screams every time sandpaper gets near it, the neck and fittings love it. = You must "choose wisely."
It's funny you would say that, because I just started singing lessons a couple days ago in order to do some upcoming musical videos. :) Thanks for watching!
nice . its really to bad so much was lost in time from the Stradivarius violins . hey got a question for you . your book two trees im guessing is about violins is it a how to book on making violins ?
"Two Trees" is about the "romantic" side of violin making and shares quite a bit about that and the secrets of Paganini. It's based upon one of the original legends about music and master violin (a customer and his relationship with the Master Luthier while his violin is being made). This is book one in "The Luthier's Diary Series" and the "deep" secrets and experiences of violin making are interwoven within them all. And yes, I have been accused of being a romance novelist and it will make you cry. :) In a good way.
I am a fiddler, not a violinist, I played for dancing at Hoe Downs, Barn Dances and Irish Ceilidhs for over 30 years, and, while I wouldn't say I enjoyed every minute, there are far worse ways of earning a living! I also played fiddle and sang Folk songs at Folk Clubs and Festivals until I was retired by the pandemic, fortunately just as my pension matured! I really love fiddles and fiddling, I own several fiddles, and play them in rotation to keep them in good condition, only one is a really good one, which my lovely wife helped me to buy. I just love fiddles and fiddling and still play nearly every day! I will probably die with a fiddle under my chin!
There also aren't many "better" ways to earn a living! You truly sound like a kindred spirit! I know that I've focused on the "classical " in my videos so far, but just wait! I plan on having some real fun as soon as I'm finished with the "How to Play Unbelievably Fast" lessons. I wonder why "Fire on the Mountain" comes to mind? :)@@wildorinj
Believe it or not, my neck and scroll are very similar to the neck and scroll on Kevin's violin with respect to the flaming of the maple. As for the colour, at my violin (gotta start practicing), the neck's colour is a little more toward the golden side,
Boiled linseed oil... to dry in sun lights, Can you give me more details how to do it ?! Because i tried it for two days didn't work or dry like yours.
Realize that I live in the hot desert. Also the bottle I dipped my fingers in has been around for years and the top thickens more and more over time. There's only a very thin film/layer that hardens when it's made fresh. Use a baby bottle, or similar, as shown. Fill it about half full, as shown in the still photograph. Then take it out each day and leave it in the sun without a lid however many days that it takes. Come to think of it, when I lived in Salt Lake City I think it took as long as 2 weeks. = Sorry. That's one of the reasons why I moved my shop to the desert!
I have somewhat small hands but I prefer a fat neck. Same thing on guitars. But how do you properly clean the neck? Mine is starting to hang me up when shifting.
While most "copies" are cheap factory instruments, JB Vuillaume of Paris' copies of Stradivarius and Guarnerius sell for as much as $542,369. So the short answer is; if you truly can can judge an instrument for its tone, response, beauty, and condition, the answer is yes. Though, before you spend $25,000 or more on any copy, you may wish to give my original instruments a try.
If your neck has never bothered you and you can shift properly under all conditions, of course, leave well enough alone, especially if there are sentimental feelings involved; though, I would never "put up" with a varnished neck (historical or not) if you slip, slide and stick to it when playing. :)
Violins are such complicated beasts to get absolutely right, but you impart the knowledge of how to do each job properly, in a step by step procedure. I have maintained my precious violins and learned such a lot from your videos, that I feel I could tackle minor maintenance jobs without resorting to the local violin repairer. I know people who are terrified about changing strings, cleaning the instrument and rosining the bow, all topics you have covered which give confidence to the novice violin owner - for which I say 'thank you very much indeed!'
Thank you for watching. There are so many more videos I would love to make, yet it's unbelievable how much time it takes to make each one. I've probably given up making a dozen instruments because of this project, so it's nice to know that they are appreciated. :)
Hello Mr Lee I would like to ask you what you think of violins made of fiber . Many symphony violinists recommend them for their beautiful tone and durability. They say they are the violins of the future . I don't know if it would be too much to ask you who is an expert in the world of the violín , to make a video about this to dispel many doubts and questions about this type of violins. Thank you for your attention . Sincerely . Michael Conley Tom Parker Kismartovi Mejia Marissa Kearney Paul Smith.
Because of my scientific upbringing and my constant desire for "more," I spent quite a bit of time looking into and making comparisons with synthetic materials and instruments and while they have been getting better over the years, nothing ever even showed the potential of getting even close to what could be considered a fine violin, let alone a "master." Besides that, I love the souls of the trees and their individual voices way too much to ever abandon them. I don't know who would be best to approach for making these kinds of comparisons in the future. I need to get back to my carving bench... :) Thanks for watching!
Nefertiti had the perfect neck. I know, I've seen the bust of her in the British Museum (selfies had yet to be invented). Maybe she was Stradivarius' time-warp girlfriend and he copied.. ;-)
Come on Kevin, we would like to See this skills live! Thanks for sharing
Gorgeous violin! Well done!
As “manchas” do braço desse violino é MARAVILHOSO!!!
Quase não se vê isso!!!
Mestre violino! 👏🏻👏🏻👏🏻
Beautiful, Kevin. Thx!
Yes, violins are beautiful. I live with them every day, and I just can't get enough! :)
I gotta say Kevin, you have the best eye for maple! I would love to look through your stock!
I'm glad you noticed. You may wish to watch my video: "Violin Shop Tour 2 / Trees With Souls: Choosing and Splitting the Wood" starting at 6:35 for a little bigger "taste."
I've said it (probably too many times) to visitors at my shop, "I believe that if Stradivarius were to walk in and look up at my ceiling, he would fall on his knees and weep with joy." The description of the wood in my books is not exaggerated, and the price I've paid for it is what keeps me humble/poor. :)
Lovely work, I’ll take a closer look to my violin’s neck. Thanks for the video and infos ❤
Outstanding vid with useful info! Thanks for takeing your time to share.
Stunning work.
Awesome!!
Happy new year maestro, thank you for the demonstration and explanation.
Happy new year! As always, thank you so much for your comments.
It occurs to me, that great instruments are as beautiful as their sounds. And, what's more, the visual character of the instrument tends to be quite well associated with its sonic characteristics.
As un-scientific as it may seem, you are so right, and the more you love them, the more they give!
I learned a whole lot, thank you!
That's the beauty of fine violins. After making them for over 44 years I still learn something new and wonderful every single day. :)
Just amazing!!❤
And so are you! Thanks for commenting. :)
Very interesting and informative, thanks.
❤
Stradivarius worked when necks were very differently shaped. The necks on all of his instruments were drastically reworked in the 1800s to make them conform to the standard that we still prefer.
Yes. They made "most" of their violin necks to the standards of the day, yet they still altered that standard to fit the hands of those who played upon their instruments. Guarnerius seemed to be the most open minded one on this, and there were a few of his original necks that almost met the "modern" standard. Even the original neck on Paganini's "Cannon" (which is still on it, though re-fitted) was originally made slightly longer and thinner than the Baroque standard of the day. :)
@@kevinleeluthier
The old style necks were shorter, yes, but a lot more was going on than that. The old necks were lower, the top of a neck was level with the top of the edge of the belly. They were lower, and they were also in a straight line with the rim of the belly. They were not angled as the current style necks are. To make up for the height difference, and the lack of an angle, the makers glued on a wedge that the finger board was then glued on top of.
The whole mess was horrible to play because the wedge was significantly thicker at the base of the neck than at the nut. A player was dealing with something far worse than a slightly tapering cone in his left hand, it was a ramp like a woman's platform shoe sole from the disco era.
The mess was built that way because it was easier for the builder, no concession was made for the player. Anyway, players began to complain about how bad they were to play, and builders came up with the current design. But the old violins had to be modified or nobody would ever buy a used one.
They put new necks on them, but they chopped off the peg box from the original violin and glued it onto the new neck. But they didn't stop with the necks, the bass bars that the geniuses had considered perfect, were removed and swapped for larger ones. And nobody knows how much wood was scraped from the bellies and backs of the old fiddles.
None of the old builders would be able to recognize the sound of their instruments after all that was done. The work of the old "geniuses" was hot rodded by people who knew at least as much about violins than they ever did.
Most of what you say is correct, except that there were exceptions to their necks, and I have played master instruments with original necks, and they are sweet, balanced, and wonderful, which was the style and "usually" the request of the day.
Everyone usually lumps the master's instruments all together, yet the further you go back in history and visit the journals of the luthiers who performed the operations on their instruments, the more variety you find. Say what you may, I agree with Jacques Francais (and a dozen other connoisseurs) that Stradivarius and Guarnerius truly were artists and geniuses, and I am ever grateful for their examples.
Can you tell that, even though I am a modern violin maker myself and have "won" in numerous comparisons with dozens of the master's instruments in concert halls around the world, that I still love and appreciate "most" of their instruments beyond words? = Well worth a few million dollars. :)
Please, what are the dimensions of this neck (width and height, at the saddle and just behind the heel)?
I debated going into more detail on this video because the shape and dimensions are actually quite complex and the sides of the neck and fingerboard are not straight (both sides taper up), but for now:
The width of the neck at the edge of the "nut" is 23.4 mm and at the very end above the mortise 30.8 mm wide.
The "height" or thickness of the neck without the fingerboard is measured at the end of the radius by the nut 12.1 mm, in the center 12.75 mm, and at the end of the radius by the heel 13.9.
With the fingerboard's added height these numbers increase to 18.5 mm, 20.3 mm, and 21.3 mm.
I hope this helps, but if not, if I have the time, I'll make a video about it as I'm finishing this next violin. My only trouble is that the more videos I make the less violins I make, and above all else, I am a violin maker. :)
@@kevinleeluthier Many thanks for taking the time!
sandpaper? oh, the sacrilege ;)
Right! I know!
Yet while every other part of a fine violin cringes and screams every time sandpaper gets near it, the neck and fittings love it. = You must "choose wisely."
I really like your voice) and videos of course too
It's funny you would say that, because I just started singing lessons a couple days ago in order to do some upcoming musical videos. :) Thanks for watching!
nice . its really to bad so much was lost in time from the Stradivarius violins . hey got a question for you . your book two trees im guessing is about violins is it a how to book on making violins ?
No I think it's a love story
"Two Trees" is about the "romantic" side of violin making and shares quite a bit about that and the secrets of Paganini. It's based upon one of the original legends about music and master violin (a customer and his relationship with the Master Luthier while his violin is being made). This is book one in "The Luthier's Diary Series" and the "deep" secrets and experiences of violin making are interwoven within them all. And yes, I have been accused of being a romance novelist and it will make you cry. :) In a good way.
@@kevinleeluthier love of violin
I am a fiddler, not a violinist, I played for dancing at Hoe Downs, Barn Dances and Irish Ceilidhs for over 30 years, and, while I wouldn't say I enjoyed every minute, there are far worse ways of earning a living! I also played fiddle and sang Folk songs at Folk Clubs and Festivals until I was retired by the pandemic, fortunately just as my pension matured! I really love fiddles and fiddling, I own several fiddles, and play them in rotation to keep them in good condition, only one is a really good one, which my lovely wife helped me to buy. I just love fiddles and fiddling and still play nearly every day! I will probably die with a fiddle under my chin!
There also aren't many "better" ways to earn a living! You truly sound like a kindred spirit! I know that I've focused on the "classical " in my videos so far, but just wait! I plan on having some real fun as soon as I'm finished with the "How to Play Unbelievably Fast" lessons. I wonder why "Fire on the Mountain" comes to mind? :)@@wildorinj
Believe it or not, my neck and scroll are very similar to the neck and scroll on Kevin's violin with respect to the flaming of the maple. As for the colour, at my violin (gotta start practicing), the neck's colour is a little more toward the golden side,
I love it when musicians pay close attention and appreciate their instruments!
Boiled linseed oil... to dry in sun lights,
Can you give me more details how to do it ?!
Because i tried it for two days didn't work or dry like yours.
Realize that I live in the hot desert. Also the bottle I dipped my fingers in has been around for years and the top thickens more and more over time. There's only a very thin film/layer that hardens when it's made fresh.
Use a baby bottle, or similar, as shown. Fill it about half full, as shown in the still photograph. Then take it out each day and leave it in the sun without a lid however many days that it takes. Come to think of it, when I lived in Salt Lake City I think it took as long as 2 weeks. = Sorry. That's one of the reasons why I moved my shop to the desert!
Is that any available printable to measure curve tha neck?
I have somewhat small hands but I prefer a fat neck. Same thing on guitars. But how do you properly clean the neck? Mine is starting to hang me up when shifting.
Are violin copies worth buying?
While most "copies" are cheap factory instruments, JB Vuillaume of Paris' copies of Stradivarius and Guarnerius sell for as much as $542,369. So the short answer is; if you truly can can judge an instrument for its tone, response, beauty, and condition, the answer is yes. Though, before you spend $25,000 or more on any copy, you may wish to give my original instruments a try.
Did any of the old violin makers ever put anything on the fingerboards like a wax or something?
My violin's neck has a ton of varnish on it, but I'm hesitant to alter it because I don't want to tamper with history.
If your neck has never bothered you and you can shift properly under all conditions, of course, leave well enough alone, especially if there are sentimental feelings involved; though, I would never "put up" with a varnished neck (historical or not) if you slip, slide and stick to it when playing. :)
Violins are such complicated beasts to get absolutely right, but you impart the knowledge of how to do each job properly, in a step by step procedure. I have maintained my precious violins and learned such a lot from your videos, that I feel I could tackle minor maintenance jobs without resorting to the local violin repairer. I know people who are terrified about changing strings, cleaning the instrument and rosining the bow, all topics you have covered which give confidence to the novice violin owner - for which I say 'thank you very much indeed!'
Thank you for watching. There are so many more videos I would love to make, yet it's unbelievable how much time it takes to make each one. I've probably given up making a dozen instruments because of this project, so it's nice to know that they are appreciated. :)
Hello
Mr Lee
I would like to ask you what you think of violins made of fiber . Many symphony violinists recommend them for their beautiful tone and durability.
They say they are the violins of the future .
I don't know if it would be too much to ask you who is an expert in the world of the violín , to make a video about this to dispel many doubts and questions about this type of violins.
Thank you for your attention .
Sincerely .
Michael Conley
Tom Parker
Kismartovi Mejia
Marissa Kearney
Paul Smith.
Because of my scientific upbringing and my constant desire for "more," I spent quite a bit of time looking into and making comparisons with synthetic materials and instruments and while they have been getting better over the years, nothing ever even showed the potential of getting even close to what could be considered a fine violin, let alone a "master." Besides that, I love the souls of the trees and their individual voices way too much to ever abandon them.
I don't know who would be best to approach for making these kinds of comparisons in the future. I need to get back to my carving bench... :) Thanks for watching!
now the neck is worth more than the violin!!
I understand your comment based upon watching the video, yet truly, the sound of this violin is amazing and it plays like a dream!
Nefertiti had the perfect neck. I know, I've seen the bust of her in the British Museum (selfies had yet to be invented). Maybe she was Stradivarius' time-warp girlfriend and he copied.. ;-)
Yes, she appears to be a beautiful woman.
While I don't have a statue of her in the entry of my shop, there is a beautiful statue of Bastet. :)
"for those with massive hands and fingers...." better go play a cello! :))
That has happened many times! :)
#62_July15_2024_🇺🇸