Jump to content
Maestronet Forums

Torbjörn Zethelius

Members
  • Posts

    2298
  • Joined

  • Last visited

  • Days Won

    3

Everything posted by Torbjörn Zethelius

  1. Red lines are on the bass side below the f hole and the black line is the mirror imaged treble side arching. I understood it as the caving in is on the bassbar side?
  2. Andreas, as I think you know, from my way of working (inside first using a chain to find the curvature) a symmetric arch comes naturally. Also, because I'm not into copying, this question hasn't come up. Would someone find asymmetry in my archings, it would have to be from either soundpost/bassbar distorsion or unevenness in thicknesses. The asymmetry that you illustrate I imagine could only be from soundpost/bassbar distorsion. I can't see how asymmetry would be beneficial in any way.
  3. The red lines are the sunken in parts? Is it not a matter of soundpost bulging/distorsion?
  4. Andreas, is there a picture to show the asymmetry? I’d like to know what you’re talking about.
  5. Thanks Melvin. I look forward to see the research and scans.
  6. This sounds like utter non-sense. When was this study made?
  7. I think that you're giving way too much importance on this study.
  8. I've said it before: good violins don't happen by accident.
  9. I also have an environmental concern about 3D printers. Urban Luthier, your clamps are beautiful. Is that European walnut?
  10. I haven't noticed this because -I'm guessing- I focus mainly on the internal arch. If he did use a chain then I'd say the internal arch should be fairly symmetrical and the asymmetry would be due to difference in thicknesses. The asymmetry could be because the way he worked (i.e. held the plate while planing) when doing graduations. I think he had an idea of what thickness he wanted but he wasn't too fussy about making it perfect. Because it doesn't need to be.
  11. Good workmanship is for me what brings a good result. But it is also a certain working procedure. We can judge bad food with our taste and smell. Bad violins are a little bit harder but it's still doable. I did read it. And I can explain how to make a good violin. I have already done so in the Strad magazine. It's up to the readers to follow the instructions. The problem is that there is too much information out there. I believe it. We can make almost any wood sing, but why waste time on bad wood if we can work with good wood?
  12. There is not one right thickness IMO. Different players respond differently to different thicknesses. As long as they have the correct working procedure, I guess. How do you judge bad materials?
  13. What's wrong with wood? These clamps take about an hour to make.
  14. This. Good ingredients/materials and good craftsmanship brings good results.
  15. I heard about that study. I bet that none of these 'wood experts' would be able to make a decent violin out of their preferred choice of wood. It's not that hard to make an excellent violin if you know how. They don't happen by chance.
  16. I haven't experimented with it, but I would think that it has a minimal effect. If any.
  17. I'd put this in the tap tone department. Or in other words; I think it's BS. But since you're in an experimental mode, by all means test it and report back.
  18. Arching The Divide Here is my article. It should have something of interest. Regarding drilling a centre hole with a compass. In normal use the pressure is applied more or less equal on both legs, so there should be additional marks from the other point. But there aren't as far as I'm aware. Thus, to make the hole, it must be quite deliberate i.e. it should serve a purpose, which I don't see in the explanations from the compass theory folks, other than that the compass was used over and over until it had drilled through to the other side. Which doesn't make sense to me.
  19. What Andreas said. I adressed this matter in the November issue of The Strad 2017. The article is called Arching the Divide. Did you not read it?
×
×
  • Create New...