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Bill Warren

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    Tupelo, Mississippi, U.S.A.

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  1. I think I'm beginning to understand what y'all are saying about the changing colors. I tried attaching a brief movie shot on my iphone of my last completed violin as I tilted it to change the angle at which the light hits it. Straight on you can see a good bit of golden ground shining thru the red-brown varnish and the farther you tilt it, the darker the varnish appears to be. That being the case, I suppose I should try to copy the Messiah color from the poster for my violin straight-on in good light (alot of really bright golden ground and some layers of golden brown varnish) maybe adding a layer or two of red or red-brown on top so it will darken as it is tilted. Bill IMG_1018.MOV
  2. I have a question or two for those of you who have seen the 1716 Messiah Strad in person in good light, and perhaps have held it in your hands. I've seen all sorts of photos of the Messiah, and I have the Strad poster of it. The black and white photos make it look very dark. The top's texture photo of the treble f-hole makes it look reddish-orange. The photos of it with the Lady Blunt make it look golden-brown. The Strad poster makes it look the lightest golden-brown of all the pictures. What is the real color of the 1716 Messiah Strad violin? (Or at least to which picture should I try to match the finish on my copy of it?) Bill
  3. Eyeglasses? I've been having trouble lately focusing on purfling mitres and other such fine detailed work, so when I had my latest eye exam a couple weeks ago I asked the optometrist if he could set the nearest part of my bifocals so I could focus my eyes on work as close as 6" so I wouldn't have to hold everything 2 feet away from me to see it. He agreed to do so, and I am anxiously awaiting a new pair of glasses myself. You older guys might consider having a set of polycarbonate lens put in an old set of frames just for violin/shop work.
  4. I have heard two different reasons than those for rattlesnake rattles in fiddles- the first I heard was that the rattle moving around inside the body cuts down on dust settling inside the instrument and the second was that the player was supposed to let off the loudness in bowing if they heard the rattle start to buzz... (not that I believe any of them... )
  5. i don't get a chance to answer a lot of questions about violins, but I have developed answers to these: Q: What's the difference in a violin and a fiddle? A: A fiddle generally has a flatter bridge so the fiddler can play on 2 or 3 strings at once and 4 fine tuners. A violin will generally have a rounder bridge and only 1 fine tuner. A fiddle is generally used for folk music while a violin is used for classical. Q: What wood do you use? A: I use maple for the back and spruce for the top because that's what Strad used.
  6. Question: Do you play the violin? My response: No- I torture them. I can really make one SQUEAL. ( I can almost always get a laugh with that line )
  7. 3. Violinmaking? Is that like making guitars? (Recommended response: No. It's alot more like making fiddles.) 4. Violinmaking? Is that like making mandolins? (Recommended response: Yes, but the scroll is on the end of the violin's fingerboard and violins have cute little waists.)
  8. One of my favorites is "If you give the hardest job to the laziest man, he will find the easiest way to do it." Now if any of you new and amateur violinmakers ever begin to seek the easy ways, just remember that the easy ways are not always the best ways, nor do they often produce the best results.
  9. Here's a picture of the one I made and use. I think I remembered to press the Attach this file button this time. If there's a post like this with no picture in it, would one of the Admin's please delete that post?
  10. Roger, Do you use a sandpaper adapter on your angle grinder, or a Lancelot cutter, or both? What sizes are best for use on violin plates?
  11. Hi Bruce, All four of those f-holes are Titian f-holes- not my design at all. Those black f-hole templates on my top plate are cut from another photocopy of the Titian top identical to the one lying on my top plate. I cut them out as well as my Xacto blade and my bifocals would allow. Part of the distortion may be trying to make the two dimensional templates work on my three dimensional top plate because they are flat in the photocopy and follow the arching on the top plate. Plus, I cut the template for my inside mold from the CT scan on the poster- as a result my mold as well as my plates seem to be a couple mm too wide in the c-bouts and maybe 3 mm shorter than the actual picture of the plate, so this "copy" is lacking in exactness. My next Titian copy will undoubtedly require a new mold The f-hole templates in the pic in the post #10 are spaced equidistant from the centerline with 40 mm between the top eyes and 108 between the bottom eyes. Attached is a pic of the same templates spaced according to poster dimension as measured from the outside edge of the plate- does this look any better? Before I draw the templates to cut them, I will doublecheck that they aren't bent causing the upper eyes to be too high and I will try to be careful to get the bottom wing tip centered in the curve better. Thanks for the advice- I would not have known to look for stuff like this otherwise. Bill
  12. Using Don Noon's idea and Bruce Carlson's measurements between the f-holes themselves to place the f-holes, I cut templates of the f-holes and taped them to my top plate to get the result shown in the attached pic. I'll probably draw the templates and cut the f-holes right where they are now. They look a little low but seem to meet the 195 mm stop length. Thanks for the help and information. After looking at the f-holes from the side to see if they are parallel to the bottom of the plate, I think I will keep the arching quite full in the center of the c-bouts on future violins so I can try to make their f-holes parallel and maybe do a bit of work to those lower wings to more closely match the Titian side view on the poster. Bill
  13. Thanks for your replies. I'm limiting myself to using data from this Titian poster for this copy in order to keep this violin as Titian-like as possible- I had planned to label it "Copy of..." but I'm beginning to think "Inspired by..." would be a better label. A commission for we would only be a dream- here in north Mississippi, USA, there seems to be very little market for violins over $200. It seems the best that I can hope for is consignment in a larger city out of state, and from what I think I remember reading, my violin will have to appraise for at least $5000 before any shop will be interested. My hope for this violin is that it will appraise at that level or higher, will look warm and inviting to players, and have great tone. If it's worthy, I might even try to have it sold, which is why I'm trying to do everything on it "right", or at least as correct as possible. For now, I'm headed back to my workbench with your idea to solve this latest problem.
  14. Hi Everybody, After making one from Harry Wake plans and two from Heron-Allen plans, I'm finally getting around to making a violin from a Strad poster of the 1715 Titian. I've been working off the assumption that everything on the poster is actual size, until I tried to lay out the f-holes. I quickly found that an f-hole template made from the red drawing of the f-holes (the drawing inside the back outline) is way too small and is not at actual size. For instance, on the drawing, the distance between the upper eyes is marked "40" but actually measures 36 mm and the distance between the lower eyes is marked 107.8 but measures 104 mm. However, the eyes end holes diameters at 6.8 for the top and 9.6 for the bottom seem to be actual size. Please tell me truthfully that the pics of the front and back views (the ones I made my mold from) are accurately sized... Why was such an important drawing made smaller than actual size when there is room on the poster for one actual size? And what is the best way for me to get the most accurate template for Titian f-holes? At this point all I can think of is to cut Strad-style f-hole patterns from a photocopy of the front and use the info on the red drawing to locate them? Bill
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