Torbjörn Zethelius

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  1. The Messie is 0.2mm lower. Draw your own conclusions.
  2. I think crypto technology could be useful. A certificate can be issued along with the transaction and it will be stored in the block chain forever without being able to fake or removed.
  3. I make certificates when asked for it. A personal model and style is to prefer over cheap copies.
  4. Thicknesses aren't as important as the curvatures. Make them thin or thick, I don't care.
  5. The proof is in the Tarragona, as they say in Cremona. I just made that up, pretty clever, eh? That guy knew a lot.
  6. Funny that you ignored my post with the quote which was actually from the time and place that some of these makers were still active. You also need to show why, if they really made the top more flat, that there's any advantage of doing so. The most sought after instruments as far as I'm aware, are rather more curved than not. A case in point. Del Gesu made rather thick plates that keeps the shape well.
  7. Some of you may have seen this pic before, but anyway. Since the discussion is about what the old makers did or did not, consider this excerpt from Dizionario delle Arti e de Mestieri, by Francesco Griselini, Marco Fassadoni, Venice 1770 LIUTIERE, o FABBRICATOR. DI VIOLINI, ED ALTRI STROMENTI. ”The principal point for the goodness of the instrument is to find good, old and sonorous spruce for the belly: the best is from Tyrol. The cavity shapes given to this belly in a vault shape more or less high, the diverse thicknesses to be observed, the way that the bassbar is placed insi
  8. Anyone familiar with the replication crisis?
  9. You want smooth curves inside as well as outside. Taptones /Chladnipatterns are distractions IMO.
  10. According to The Brompton's Book of Violin and Bow Makers, there was a Karl Johan Engström, born 1879 in Ven, Sweden. Perhaps this Gust(-av?) was related to him? The colour is quite Swedish looking for the time. Maybe he was a Swedish immigrant, I'm speculating.
  11. Thanks for the interesting observation, Kevin. The marks seem to correspond with musical intervals. Considering that the distance between the upper and lower blocks correspond with the original vibrating string length, it makes sense IMO. I found the following intervals: small second, small sext, small ters, big nona and (of course) the octave. Are there more? P.S. I will argue that this distance (the vibrating string length) is the starting point for the design of the violin.
  12. This part is commonly made fairly straight. Its development follow from the angled template (first turn) to the width at point B.
  13. They are straight looking to the eye, but not necessarily by the straightedge.
  14. I wrote an article about how to measure out the scroll and pegbox in The Strad's Trade Secrets. If you manage to follow it then from there it should be easy to make a template. Strad's templates were made for a busy workshop IMO. A lone maker doesn't need it. I have made a storey stick with the essential measurements, the same as marked out in my article. Carving a scroll using angular templates.pdf
  15. The "Chanot-Chardon" is a converted viola d'amore if I remember correctly.