tango

Hi Nathan Have the fractional cellos, a medium size (1/2), a different projection. I repaired a 90 cm one. It looked me very hight at that moment.

Hi Nick. I think the following post (mine) is very related with this post. I agree with David too. Posted January 6 Hello all I tested my last violin with an expert collector and concertmaster. The test was successful so we compared with another violin, a well reputed and more experienced luthier than me. The sound of the other instrument seemed to be more powerful but really I don´t know if what I heard was some "hall sound" (resonanse?) . The sound of my violin is heard all outside the box. The other seems to be played in a subtle resonance chamber. The sound is nice in both. After thinking some, the violinist say to me: "I guess this violin would sound more (mine). May be it due to be new or it suffer exesive tension IE: a little large soundpost. The next step would be test both in a theatre but I see difficult to repeat the experience. I did nothing from that day because I went for hollydays but in few days I will be at the shop. What do you think about violins when you hear the sound all outside of the box or when you hear the box like a "little hall". I guess some hall resonance is better. Thanks for any thoughts Regards, Tango

Hi I was reading the Hargrave´s article and some post of Ben Hebbert interesting article. But I was some lost. I need to read McLennan Thesis. Thinking about gut strings and a maple fingerboard I realise that bassbar must be reduced. But how? Watching at old bassbar I see that are lower and I guess a little shorter. As I see, in Buenos Aires, "baroque´s musicians" don´t care about historical set up for there instruments as they use, in some cases, standart modern strings or modern instruments with baroque bridge and tailpiece. Further, as there are no standar meassurements (ie: bassbar) in antique violins, I will think and take desicion of my own, adapting to the more common use in my country. I have in mind a Guadagnini sample and now see in thread the Mesias one; further others in Ben Hebbert thread. Don´t know why but I like the Mesias one. Thanks to all for responses Tango

Hello I am working on a modern violin but now I want to change the proyect making a baroque one. I didn´t make the neck yet I had just finished the bassbar (modern) but I didn´t glued the top to the box. So I could shape the bassbar as baroque but I am not sure about the shape. Is there any concensus about a good bassbar of baroque violin for a new violin? Or must I cut off some mass to my bassbar and shorten a little (how much?)? I was reading but the stuff is very different from maker to maker. Thank for any advice Regards Tango

Congratulations. I like rippling.

Hello all I tested my last violin with an expert collector and concertmaster. The test was successful so we compared with another violin, a well reputed and more experienced luthier than me. The sound of the other instrument seemed to be more powerful but really I don´t know if what I heard was some "hall sound" (resonanse?) . The sound of my violin is heard all outside the box. The other seems to be played in a subtle resonance chamber. The sound is nice in both. After thinking some, the violinist say to me: "I guess this violin would sound more (mine). May be it due to be new or it suffer exesive tension IE: a little large soundpost. The next step would be test both in a theatre but I see difficult to repeat the experience. I did nothing from that day because I went for hollydays but in few days I will be at the shop. What do you think about violins when you hear the sound all outside of the box or when you hear the box like a "little hall". I guess some hall resonance is better. Thanks for any thoughts Regards, Tango

Thank Rue. Always you are very kind. Regards

Hi Two shots of my last made of Engelmani top Regards

If you hear " La yumba " tango you will not stop dancing. I know what I say

Hi Does somebody knows this signature. It is from a german brand shop. Regards

I am inclined to take off more wood looking for more flex. But not surpassing "E" note. Thanks all for spread your knowledge and help me to think. Regards Tango

This is the first time i made the archings with CURTATE CYCLOID software and not by eye as I used

Hi I am thicknessing a violin back up to achieve a "F" or "F#" note when tapping the plate with knuckles. I just arrived at "F" but some zone is thick (low bout 3mm) and I don't feel enough elasticity. I guess that I must continue the thicknessing, in spite of go far from F note. The note is clear. The weight is 102 gr. Don´t know the pg of the wood (peso específico in spanish) Thinking that the central cross arch is a little low (14mm) I think it would be better to leave a little thick. But how much I asked to myself. So the question is. When to stop Thicknessing? Any opinion would be apreciated. Thanks in advance Tango

Hi Giovanni Thanks for your valuable reply. Problem with my pc delay my response. Question: You wrote "minimum width at the CC bouts is 135 mm", Is this a caliper measurement? Regards Tango

Hi all, thanks for responses. I remember you that 56,2 mm is the measure written in the Roger´s article. I am inclined for 50 mm. This seems to me more normal but I guess Guadagnini knew more about violin making than me. I am taking note of all details for decide some measurements as: stop and neck lenght, middle bout , ff holes spacing and others. I made two violas Amati model that sounded aceptable (sold) Regards Tango