Torbjörn Zethelius

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About Torbjörn Zethelius

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    Stockholm

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  1. Digital Amati project

    Dear Harry, Thanks for responding. I read your article in the Strad, thanks. I've been working with a ruler and compass since my first year in violin making school and I know very well how to draw a pentagon with a ruler and compass. That's easy. I will check into it and see if and how I can use it. I have Francois' book but I use a different system for violin design that is based on Kevin Coates groundbreaking book which analysed outlines of instruments. Had it not been for the Stradivari forms, we would have designed the outline of the instrument which makes more sense to me. Just my opinion. Hi Kevin, Very interesting. Can I also design the outline and from it get the inner form? That's how I'd go about it. How about a video demonstration to get us started? Torbjörn
  2. Basic Acoustics Resource

    I'm with David Beard on this discussion. It's just a numerology game to impress clients.
  3. Digital Amati project

    How is the program directed specifically at violin makers and not geometry in general? Can I draw the outline of the instrument instead of the inner mold? How about drawing scrolls? I would love a program that allows me to draw on the screen just as with a compass and ruler (that I understand) but this program is rather directed at programmers? Like the idea but the execution seems a bit over my head (patience).
  4. Only the good survive

    Makers are asking for this when they make copies. It's part of the illusion.
  5. String height (gap under) at the nut - violin

    It's an individual thing. I make the saddle height equal under all strings. .6mm is a good medium.
  6. Integral bassbars

    My reason for a glued in bar is chain bound.
  7. Only the good survive

    Will L, I agree with your basic point that Strads are great. I don't think that a living maker has any credence in saying that they are as good as any of the old masters, because time influences instruments and our perception of them. Still it doesn't stop them from making good violins. But here's my question: Why should it not be possible for a living human to make something as good as a Stradivari? You seem doubtful of this possibility. Also, in that regard; 100 instruments is a small sample pool to judge by.
  8. Only the good survive

    There are plenty of people who know how.
  9. Only the good survive

    You'd have to be a hell of a dealer to convince someone like Joachim or, say Anne-Sophie Mutter to buy anything less than the best they can find. I don't think that dealers were in the forefront of marketing Stradivari and Guarneri, but players. Dealers only went along on the ride.
  10. Only the good survive

    Are these old Cremonas that you're talking about? It is possible to make a bad violin even within the best tradition, but I think it would be harder to make a really bad violin.
  11. Only the good survive

    A Cremona is a Cremona even if it is best suited as a wall hanger. To make a good violin is not that hard if you know how.
  12. Bass bar tuning

    C1, I'm trying to understand what you're saying. You're saying that Vuillaume did regraduate and tune Strad tops to D#=309 Hz? Or are you saying that Stradivari tuned his plates to 309 Hz? What's the magick behind this frequency? I still don't know how you find this frequency. Could it be that the geometry of the plates lends itself especially well to this frequency?
  13. Back Plate thickness in question

    You might be right about that. Strad also had a very wide upper block. I had an idea that it was for acoustic reasons but now I think it's for added strength. I don't know why everybody's so obsessed with frequencies and body modes. I think you'd do better without that stuff.
  14. del Gesu graduations

    As do good violins.
  15. del Gesu graduations

    They're being upgraded all the time though.