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Torbjörn Zethelius

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Everything posted by Torbjörn Zethelius

  1. Wood creep and (the ravages of) time are the biggest factors for the differences in arch height. Also the fact that the thicknesses are on the outside and not the inside contribute to the difference.
  2. No further adjustments. I prefer to keep it simple. If there was a way for improvement, I wouldn't know how.
  3. There is no one optimal height, obviously. I use ratios to decide which arch height, or rather depth to use. 1/3 rib height is one example. This gives the internal depth of scoop. If I want a different arch for acoustic reasons, I'll find a compatible ratio. I would also study I segreti di buttegha for ideas.
  4. I think it was used just like the small one. The other flat end probably had a blunt cover like the small thickness punch. It's quite heavy and sturdy.
  5. I don't 'bomb' my archings so I don't have this problem. I have checked on my finished instruments for the 'Zuger lines' and they're there, but as I said, I don't do anything intentionally to get them there.
  6. Guarneri del Gesu wasn't a big name when Paganini got his hands on 'Il Cannone'. Great players get to choose their ideal instrument regardless of the name. They lead the way.
  7. My latest violin was made without tapping at all, just to prove to myself that it's possible. It is probably my best violin so far. BTW I've never been a 'plate tuner'. I don't even record the modes on the finished plates. Only, with this violin I went to the extreme.
  8. The tool similar to this in the Museo del violino has a pointed end. I believe it is a thickness punch for graduating cellos because the smaller one isn't fit for that. I guess it could also have a dual purpose as Conor showed.
  9. I hardly ever use a modern thickness caliper. An old time thicknessing punch is enough for my working style.
  10. Thanks. Do you mean that you use the shadow from the ruler to check the curvature? I do that too, although the lines aren't quite in the same location. A good sequence to work is to go from the deepest point towards the edges. Maybe you do that already. Zuger's straight lines will automatically form in the arch due to its curvature. I don't see it necessary to focus on them IMO. But maybe I misunderstood something?
  11. Andreas, did you explain these lines before? What are they? Why are they there?
  12. Stradivari didn’t seem to have a problem making thick scoop. So maybe he didn’t care about this aspect.
  13. Post moved from another thread: I'd like to see a blind test between old vs new where some of the best old ones –by any maker, not necessarily Strad/del Gesu– are compared to some of the best new ones. Then repeat the test with some other violins. That could settle the debate of old vs new, or at the least bring it forward. I would also like to see an audience of professionals with experience of listening to great instruments.
  14. You can lead a horse to water, but you can't make it drink.
  15. Here's the Girolamo Amati viola in the Galleria Estense. You're welcome. Edit: The photo is from the book by Edizioni Scrollavezza & Zanré. Jan Röhrmann.
  16. Yes, I have to be careful when drilling the hole. As I said it's not perfect. It works fine for violin and viola but I haven't done a cello yet. The one I have might be too small for that.
  17. I would just cut off one leg of the old fashioned compasses and sharpen it but the steel was too soft. So a friend who makes gadgets and things for Stockholm university helped me with the knife addition. The outside of the blade has a radius about 3+ mm to fit the upper hole of a violin. The tip of the knife is rounded to cut smoothly. The tip of the longer leg has broken but it was meant to have a sharp point and filed square to drill the pilot hole. I'm sure that my other scribing compass (shown below) has better steel that would hold for sharpening but I don't want to ruin it. I use it for many other things. The good thing about these old fashioned compasses is that they're more sturdy than modern compasses with separate legs. ,
  18. Here's my F-hole cutter. I wanted something adjustable, not specific to metric measures. It works for all sizes up to cello. I drill the hole from both sides. It's not perfect but works ok. Patent pending.
  19. There was a miniature model of a ca 1830(?) Bohemian(?) violin workshop. I hope that it will be on display. Hopefully somebody can get a nice picture of it.
  20. if one's careful of ones instrument one shouldn't have laid it at risk. But then we don't know the details. Ultimately, I feel that the owner is responsible for any damage to their instrument, but sometimes accidents are inevitable.
  21. For many years the collection of tools and templates was sadly neglected. Lots of things have gone missing over the years. The corner templates were more useful than the moulds with their block templates, especially before 1972 when Sacconi's book was published and he explained the making process. We're lucky to have this last one. Imagine if the whole collection was complete. The curators aren't violin makers, and what do they care. There may have existed more than one of each mould. I think it's rather likely.
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