francoisdenis

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About francoisdenis

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    Angers France
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    Organology, history of science and art

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  1. Violin geometry references

    It's very simple, It's just because you never learned it ! Indeed you're right if you consider that the dimensions of a musical instrument are a set of measures all comparable two by two. BUT, at the time of the invention of the violin, this type of presentation of the measures is still a practice reserved for a few educated. For many good reasons on which I will not come back, the systems used are more likely to be the ones that have survived in all crafts since ancient times. It is very interesting to study because one realizes that the universal thought that prevails up to the quarrel of the Ancients and Moderns had very pragmatic origins. I like to think that all this was within reach of a bored shepherd keeping his flock, trying to understand the world around him. That please me to imagine such a beginning
  2. Violin geometry references

    An Initial step is missing to your framework. The placement of the openings use to be the initial step of any design (I'm not speaking of the late XVII┬░C here)
  3. Violin geometry references

    Hi David, In my post I expressed a general recommendation. It applies whatever the method. I'm not sure to well understand what you call 'guide methods' versus 'execution methods'.
  4. Violin geometry references

    go ahead (please include measurements
  5. Violin geometry references

    I was interested myself in Kevin's previous proposal. I redraw it taking time to check the dimensions by calculation. It appears ttaht more than 2mm are missing in the C-bout . I did the same with the reconstruction of the mold P MS 44 (on Youtube) again several mm are missing in the C-bout, measurements of the arcs are also incorrect So, I send a private message to Kevin , I offered him work together on these anomalies I will draw your attention to important details. -Pictures are a source of errors in the dimensions. So be careful with hasty conclusions based on pictures. CT scan (properly reproduced) are more reliable sources but anyway, we have to keep in mind that time can disturb the original dimensions (a problem difficult to overcome) -It is necessary to superimpose the contours right and left to take account of asymmetries. -Some simple relationships (that we always find ...) are a beginning but they do not explain a design. -It is important to convert the measurements of the ratios into metrological measurements (mm, pixel ...) so that they can be compared to the actual measurements of the instrument studied. This will give credit to your demonstration and save time for readers interested in your work. No form is perfect and we have to deal with approximations in the measurements. I think it's important to be clear with the readers on this and explain why we consider that an approximation is acceptable or not.
  6. Hello David,

    I visited your blog and I saw that you are very involved in the research on drawing. I even saw that you had reproduced a page of my book. I am pleased that it is useful to you but I am a little sad because I note that you do not quote me and moreover, I do not appear in the list of readings that you recommend. Is there any particular reason for this?

    FD

  7. Violin geometry references

    Plates came first . Ratio apply to the ribs when one started to used an inside form.
  8. Body Stop VS Neck Stop

    The original cello Strad templates will give you one answer
  9. Violin geometry references

    David, to be short Whatever the time, making a violin requires an incompressible number of initial dimensions lenghts widths, etc. A length, a width is a surface, define the violin dimensions is thus define a series of surfaces (one can also say a series of rectangular frames). It turns out that the organization of these surfaces meets very old rules which are (that should please you) very pragmatic. Once these surfaces are organized draw outlines is a piece of cake A quick sketch with a compass, you smooth transitions with a rasp if necessary or do everything by eye if you feel . All that is fundamentally secondary. I have already mentioned some of these rules in my previous posts without many reactions I must say. People always come back to outlines as if their thoughts remain attached to what they know and see. However these rules are the keys to understand a disappeared world which concerns us since the renewal of the instrumentarium between 1450 and 1550 follow them (and the violin is part of this). Obviously when you make a "copy" this informations are given by the instrument you copy and it is legitimate to consider useless to recognize these principles especially as it requires serious efforts and a strong motivation. It's a bit like learning another language it's hard (even if we know that it is easy for a native speaker!) so...if you don't need it to earn your money you avoid this step. This "language" is lost with the industrialization that begins in the seventeenth century. All the luthiers of Brescia died at the beginning of the 17th century, in Cremona only Nicolo survives. He is very young and the few of the knowledge he has inherited from his father is now obsolete and rejected by the raising of the science power. Stradivarius is still far from being born. So what remains of all this a century later at the time of the "golden age"? One must seriously consider that the practice of Stradivarius is fundamentally not very different from yours, I mean an empirical practice using standarts inherited from the Amati.
  10. Violin geometry references

    Ok, sorry it easy for me to misunderstand the implicit content of a post
  11. Violin geometry references

    Hi david Talk about the "golden age" of the violin making it is very vast and it will be easy to find examples and counterexamples. You have to be more specific, and say what these anomalies are.
  12. Violin geometry references

    Sorry, I'm not sure I understand you well but .... if you do not find it interesting why are you asking me?
  13. Violin geometry references

  14. Violin geometry references

    Dear Marty Circles...I'm not stick on that too. I already said in a previous post that the method used to draw outlines do not matter as long as it is under control. Fortunately violin esthetic is not reduced at this. I repeat Understand how surfaces and main dimensional relationships were built is important knowledge to get . I note that we are constantly coming back to the outline concern. As I said at the beginning of this topic, outlines are the true obsession of contemporary violin makers.
  15. Violin geometry references

    Excuse my poor english. I'm trying to be more precise. When I measured the Strad' s forms I also measured their asymmetries and I found a margin of error of +/- 0.75mm (which is not negligible for an original matrix). These are global measurements of the shape (length, width, etc.) and not arcs measurements. I considered that, to be accepted, a geometrical restitution must be within this margin of error.