Torbjörn Zethelius

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About Torbjörn Zethelius

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  1. Thanks for sharing, Davide! It's a strange time. The echo didn't seem quite fit for the video, but maybe the ceiling in the tower did have some effect on the sound, who knows?
  2. How can I disagree with that? I haven't tried everything that can be done to the surface of the wood. My philosophy is that less is better. Of guitars I have no opinion. To each their own. I'd love to see your notes from Guarneri if you would mind showing them to me. That seems really exciting. For sure Stradivari had notes, but I suspect that they were destroyed after his demise.
  3. When I wrote my article about the inside first approach in 2006, I wasn't aware of Euro Peluzzi's book. I think his idea came from Librum segreti di buttegha, which also speaks of the internal reflections of the plates. It was the philosophy of the old makers IMO. Interesting that Peluzzi claims he reports notes from Stradivari that he checked personally. Perhaps they were mixed together with the text in the Librum segreti? As far as I know, there's hardly any notes left from Stradivari besides a few letters and his will. A scientist in those days was called Philosopher, i.e. they mixed scientific experimentation with speculation about the nature of things. I think this is an honest and true description; science can't be perfect because it is employed by humans who are inherently imperfect. Yes, archings deform over time. That doesn't rule out that makers can make the internal surfaces similar to each other to reflect the sound beams. I'm not sure that the old makers were aware that their instruments would be taken care of and played for over 300 years. Some claim that modern instruments can be as good if not better than the old ones, so the internal reflections could well be at work here. I agree that it seems overcomplicated. But I don't agree that the theory of reflections is pointless. If I remember correctly, Bruce Carlson showed me a violin by Euro's father. I don't see him doing the calculations, but definitely the inside archings before the outside. I also see him/they doing experiments as we do today. I pretty much disagree with all of that.
  4. I taper the upper corner blocks in a straight line to the neck block. It seems to me that the belly have the easiest bending capacity in the c-bout right where it is glued to the upper corners. FWIW.
  5. Hi.  I might be off base here with topic but I will give it a shot.  I am trying to understand how to trim a bridge and its importance in tone and sound production for the violin.  I am a self-taught fiddler, so when I replace the bridge I buy one and put it on with no trimming with knife or sandpaper.  Now that I have heard the bridge must be trimmed and fitted I am guessing it has a lot to do with sound and tone production.  Can and will you share how this is done?  I cannot be the only person who is not aware of this aand what you share others would be appreciative for the information.  Thanks.


  6. A Pythagorean triangle with sides 3-4-5 gives an angle of 36.87°. Maybe use that. Or try other angles by using an online triangle calculator.
  7. Kevin, your system is simple and neat but unfortunately it doesn't fit the outline of the guitar.
  8. Hi François, here's my attempt at analysis. A quick glance it seems pretty close. The bridge is at 1/5 the body length, and it's all geometry.
  9. I want to see a division between Measurement and Curves. Two violins can have the same dimensions but look totally different from each other due to different curves. When we draw a violin from scratch we must first establish the dimensions and then build the curves around these dimensions. The curves and the dimensions is like the flesh on a skeleton. It seems to me that Kevin is constructing both at the same time, and that's problematic to me. David is on the right path IMO in that he establishes the dimensions first, which is the foundation for the whole structure.
  10. François, the waist is better made using circles and tangent straight lines. I don't know how to draw on the computer yet so I can't exemplify.
  11. I have my doubts about it. It doesn't look like what I would expect from an early Strad. As Andreas said, a real life visit could clear up the doubts.
  12. The Cremonese architect Alessandro Capra published (in 1672) in at least a couple of the books that he wrote, the Cremonese Oncia (inch) which I've measured (as accurately as I could) being equal to ≈ 39.088 mm. One oncia = 12 ponti. That gives: 9 Cremonese oncie = 351.8 mm. Add 1 ponto and we have 355.05 mm. Looks familiar anyone?
  13. You forget that the modern trend of copying stems from the French makers Lupot, Pique and Aldric in the late 18th century. They were forerunners of modern violin making. The Italians very rarely copied.
  14. Stradivari probably had a sector with which he could easily work out sophisticated calculations such as the above.