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Torbjörn Zethelius

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Everything posted by Torbjörn Zethelius

  1. Agreed. The maker can choose to follow it strictly or do whatever he or she pleases. A master such as Stradivari has more leeway to improvise than his apprentice. In either case the template has its function.
  2. To my eye it is clearly a Stradivari template just by the elegant flow of the lines. Edit: I guess it could also be 'typical Amati'.
  3. Marty, I think you have one too many circles in the outer curve. Also, can somebody turn it right? It's an upper corner.
  4. The cello corner template is for finishing corners without hassle. It is a beautiful corner and perfect. Yes, it's a long corner but it doesn't need to be cut down.
  5. Thank you, Kevin. Very nice video. You definitely have a point.
  6. I use this kind of corner templates in my making and I love it. I of course also use corner block templates a la Stradivari. The corner block templates are made out of single circle arcs while the plate corner templates are more elaborate i.e. the curves are usually made of two arcs combined to make a nicely flowing line. It's all very logical and rational. This is partly the reason why I'm sceptical to the idea that the rib/mould outline was the base for the design and not the plate outline.
  7. Yes. I don't think that the outline of the instrument slavishly have to match the rib garland 100%. The overhang allows for deviations as I think Sacconi also said.
  8. I want to know which CAD tools you use. How steep is the learning curve? Did you take a course? Or do you have assistance from a professional? What's the cost? I learned Euclidean geometry by use of compass and ruler. It would be nice to be able to illustrate my ideas in this forum and elsewhere. Often a drawing says more than words. So, please help me get my ideas across. I am thinking of the illustrations by Kevin Kelly, Addie, David Beard, F. Denis etc. How do you do it?
  9. The instruments themselves with their straight outline going in to the corner is proof enough.
  10. Hi Francois, I was talking about the outline of the instrument with the templates that were used to draw the actual corner. There is a cello corner template, the only surviving corner template which has a clearly straight line. I should have made this clear.
  11. A straight line connects the upper and lower bout circles to the corners beautifully. This technique also allows for independent design of the corners. The length of the straight line is a matter of choice, but it shouldn't exceed 13 mm or it looks awkward in a violin. IMO
  12. I have said it before but to my ear a 'typical' Strad has a sweet sound comparable to Jussi Björling's tenor, while a Del Gesu leans more towards Pavarotti. A bit more direct and powerful. That's how I differentiate between the two. Of course not all Strads sound the same and neither do Del Gesu. Not to mention the influence of the player. I did this distinction back when I was a serious student and went to many concerts and I'm not sure if I could tell the difference today.
  13. A sad thread. Basic income can potentially end a lot of suffering. https://www.theguardian.com/society/2017/feb/19/basic-income-finland-low-wages-fewer-jobs Still, fewer guns = fewer killed. Is there a debate over this?
  14. Very strong puncture marks. Usually they're not that prominent. But I hold on to the idea that they are from the thicknessing tool.Almost always seen in pre 1800 instruments. To a lesser degree after 1800
  15. And I remain with the conviction that the external arch is a reflection of the inside. You are in fact looking at the thicknesses when you study the external arch.
  16. When I work the outside arch I hold a ruler over it and check the shadow. If it's a segment of a circle then it's good. The channel is done with the aid of my thickness punch. It's easy to eye ball a circle segment to an acceptable degree. Davide's template is too rigid as Andreas's illustration shows IMO.
  17. I doubt that the ordinary player would be able to tell the difference. But I can be wrong?
  18. Christian, I assume that there's no spring in the bar?
  19. Yes, it could be fake. I don't recognise the floral pattern as particularly classical.
  20. The puncture marks are from the thicknessing spike almost certainly in my opinion. The plate is drawn while being punctured, hence the punctured line. The old working method allowed for some decorative carving.
  21. The fact that Christian developed it together with players rather than technology is appealing to me. It sounds really good in the video, but is it lacking in dynamics? Hard to hear with the commentary.
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