Jump to content
Maestronet Forums

Torbjörn Zethelius

Members
  • Posts

    2298
  • Joined

  • Last visited

  • Days Won

    3

Everything posted by Torbjörn Zethelius

  1. When I was in VMSA I used to make Strad models, but since then I've developed a personal model which is the only model I make now. It takes more effort to fake than putting a fake label inside a factory violin. According to one such label I live in Florence, Italy and may be contacted by fax only.
  2. I haven't thought much about it. But thinking about it now, because you asked, I suspect that the Amati type might be very well suited for orchestra or chamber music. With the right player, I might be tempted to try it.
  3. It can be varied at will. It seems that the Amatis made it quite large and with thin scoop. Probably intentional for sound. Strad and following del Gesu made it narrower and thicker. I can't comment on the effect on the sound as I haven't made an Amati type arch. Obviously, both types works.
  4. I could add the obvious that I think everybody already knows: that a good split and lightness is preferable. Then it's up to the maker to make the best of it.
  5. Curious1, If you're looking for a more scientific answer you shouldn't ask me. I'm sure that you know more than you need to know about that stuff. I'm not going to pretend to know more than I know, as many other people do. My answer is pretty much what any violin maker needs to know. IMO Agreed. That's a good violin.
  6. Glad you asked. It's good, old and sonorous spruce for the belly: the best is from Tyrol. Even the ancients knew this. Happy to catch you up.
  7. That's why we need good wood to start. There's no need to understand, but to do what works. If it works, it works.
  8. Admit it Davide, you're just trying to get with the In crowd.
  9. What goes on on the outside is the thicknesses. We don't need to worry too much about them.
  10. Scoop is easy. When looked at from the inside, the arch just blends together with the flat gluing surface. Problem solved.
  11. 3.14 ≈Pi. As myself and F. Denis has pointed out, the distance between the upper and lower blocks equals the original vibrating string length. Divide this with Pi and that's the internal width of the c-bout. A simple way to do this without a calculator at hand is to use a (fairly stiff) string the length of the distance between upper and lower blocks, and make a circle of it. The diameter is the width of the c-bout. I haven't checked it in a long time, so I'm not sure if it works on all the Strad moulds. It should work on at least one. The approx ≈32 mm is then 1/10 of the vibrating string length.
  12. Laying out f-holes (Hopefully the link works now.) See if you can combine this with your circles? As I mentioned in the text, I use the golden section for the layout in this scheme. (Part 2 is yet to come. )
  13. Michael, are you still a proponent of curtate cycloids?
  14. Very interesting, Andreas. Have you seen my article on the design of Stradivari's f-hole templates?
  15. Yes. I was thinking of the most striking examples. On the other hand, the Betts for example, or the Lady Blunt show less asymmetry, and in my opinion were made by Antonio himself. All the decorated Strads are also fairly symmetric in appearance.
  16. I'm wondering if the Strads with asymmetric f-holes once had 'Sotto la diciplina' labels in them.
  17. The notches were partly decoration (think of Andrea Amati) and partly a reference point for the position of the bridge in the case that it fell over. Back in the day travelling players needed to have some basic knowledge of repair and set up because there weren't always a violin maker available. I think mostly violin makers are fussing about the placement of the bridge; but players less so. They prefer the bridge where the instrument sounds best. For that reason, having two alternative reference points is actually a sound idea.
  18. Well, I didn't mean it to be like the dutzenarbeit cottage industry north of the alps. More like, with a distinctive Cremonese touch. Think quality. Imagine yourself in Antonio's shoes: Everybody wants a Cremonese instrument i.e. a Stradivarius. With money to spend, what's the logical thing to do? Was he not a good business man?
  19. This resembles the Segreti di Buttegha notion that when graduating the plates, one should find the balance point at about the 38-38.5 point of 72. It makes sense to me that they should get inspiration from Vitruvius rather than Felix Savart who came much later.
  20. My first Strad article that I published in 2006 has a few minor editing mishaps, but since I've commented on this and requested that no changes be made unless I get to approve the final article, I've had good experiences. My first article was hurried to meet the printing deadline and maybe that was the reason for the small editing mistakes.
  21. I think that the Strad workshop produced violin parts in batches. So that a worker could cut several -for example; f-holes- in one go. That would speed up the process quite a bit. The batches could even be finished outside of the main workshop, sort of like in a cottage industry. In a smaller workshop it -perhaps- makes more sense to make each instrument individually.
  22. Peter Westerlund is a very successful maker. He's worth taken seriously. Although, I doubt that I would make better violins using his method. Every violin maker have their own way of doing things. Glenn, do come by if you're ever in Stockholm.
  23. Chinese factory workers use 10 minutes to cut an f-hole by hand.
  24. I would rather listen to players than researchers on this matter.
  25. I don't recognise the decoration as Scandinavian. American?
×
×
  • Create New...