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About Claudio_Rampini

  • Birthday 01/01/1960

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    Tivoli (Roma)

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  1. Thank you, very interesting. We should inform Elias, the author, of this.
  2. From "Death and the Maiden" Elias 2011
  3. To complete the linguistic aspect of the soundpost, in french it is called "âme", the same italian word "anima". Maybe that this reflects the religious differences between the catholics and protestants countries (generally less prone to "romantic" and fancy terminology, especially in the modern times).
  4. Yes, the "anima" is internal and it is hidden in the body, you can't see it but you can feel or hear its presence, like a "bastone animato" (sword cane), or in the foundry works. I don't know if the classic violinmakers thought to the "anima" in the acception of "psyche", a word linked to the concept of air and breathing, but without a soundpost the violin stops breathing, literally.
  5. Hi Manfio, if I recall correctly, you are using a brush to apply your varnish, be careful with your solvent and use it in very small amounts. Also, let dry the varnish properly and apply the next layer only when the previous one is dried and hardened enough. My rule is apply a very thinner layer with my fingers using small amounts of solvent, in this way the layer dries faster and it will be more stable without shrinking excessively. However if there is nothing wrong in your way to apply the varnish or in the solvent, maybe possibile that your varnish (or the oil), or the siccative are prone to the pin holes.
  6. Davide is a my friend and I find that he is a very good and patient person, I have observed his work through the years. He is very meticolous with his work, please give an eye to his video on the belly and back scraping, his hand is absolutely stunning. Yes, he is a contemporary cremonese violinmaker, and I like to inform you guys that there are few still very good living luthiers in Cremona today, and i think that Davide is one of them. Observing his violins you can distinguish some traces of the Morassi school, and I like the style of Giobatta Morassi, but not that of others his students and apprentices because is rather trivial at my eyes. However if you see at Davide's work just a little more deeply, you can see an internal mould, a wonderful oil varnish made and applied using a hand of a master! In the same way it is very interesting the way he chooses his wood and uses his tools. I like so much to be bored with is videos! Regarding the tone of his violins, it is very "directional and precise", I think that reflects his personality, but it is never harsh. Precise with swetness, I could define the work and the sound of the violins made by Davide. This is not an endorsement because Davide doesn't need this, also my work and style is totally different and sometimes Davide has a not so good opinions as mine on Sacconi!
  7. Sometimes I receive questions about the use of the potassium and sodium silicate, so I'll try to explain the reason why there is not any good reason to use it on the wood of our instruments. I have experimented the potassium and the variant sodium silicate many times and I found that they mantain a strong alkaline power after the application, this is not good for our varnishes based on oil, because the silicate saponify the oil and the alkalinity produce a very bad influence on the wood. Also the silicate is not stable and the "glass" layer will pulverize in short time. I don't know if there is a way to make the silicate more stable and less alkaline, maybe yes, but I have doubts that it was used by the classic violinmakers, considering that the grounds on the classic violins vary so much. We must consider that if the analysis reveal a strong amount of silicate on the ground of a classic violin, there are many natural compounds and clays that we can define "silicate", I have never analyzed the ground of my violins, but using natural clays like "terra di siena" or other silicates mixed with iron oxide, I think the results couldn't be very different from the classics, although our modern violins are made and varnished using different methods producing differents aesthetic results. A good oil varnish made following an old recipe doesn't result automatically in a Strad, moreover the mistery on the grounds continues, although our ideas become clearer day by day.
  8. Joseph, to minimize the distortion effect on the spruce top, I use to apply the hide glue (or the VB in your case), on the internal side of the top, but wetting with water on the external, in this way the top doesn't move and you don't need to clamp it. When wet on boths sides the top distorts slightly and it seems to flatten, but when dried the wood return in its original state without or very minimal distortion.
  9. Hi Joseph, I apply the thin coat inside the body ( well diluted hide glue), just to balance the external ground (I use the egg white now), the two layers are compensating the forces that are developing when they are dried, especially for the top. Also the internal coat protects the top from an excessive oxidation process. ps I use to make the purfling when the boy is closed.
  10. I don't like the Vernice Bianca because it was conceived for paintings (see: Tempera), in my experience it is rather soft and hygroscopic, but its influence on the tone is not that bad, provided that you applied a very thin layer inside the body. Regarding the potassium silicate just a word: avoid! Usually I apply a very diluted hide glue inside the violins. ,
  11. I like steel strings (Spirocore) only for violas and cellos, they are a bit stiff but sound good for me. For a violin is a total different affair, I like the gut strings for their mellow tone, if possible I would use also a E gut string for this reason, because the steel is drilling my ears all the time, especially the golden plated E strings. Time ago i tried some E gut strings and the experience was so beautiful and in absolute balance with the other strings. Unfortunately a so thin gut string breaks very easily. Normally I like to use the Infeld blu, a very good compromise in my opinion.
  12. Thank you very much Curious1, I hope the tone will be responsive as usual.
  13. Hi all again, this is my "heavy" violin, it weighs now 263g. The color of the body is the result of the UVB rays.
  14. In my experience the blocks make a lot of difference in the weight, recently I used a heavier lime for my blocks but fortunately this didn't change the tonal properties of my instruments.
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