Dominik Tomasek

Not exactly related to violins (at least I hope so) but my teacher used to have this conversation with me all the time - "How are you?" I asked..."It is bearable" he replied.

From what I can see there are two different (?) instruments in the OP. If not I am confused! Anyway I agree with HoGo that the instrument in the first picture has got beech back. Not quatre sawn but beech. I have been quite successful with using beech in small viola backs, they give the instrument quite warm sound but also a bit of a weight. As HoGo says there is a famous Del Gesú violin with beech back and also there is a Paolo Testore viola with back plate of the same wood.

I once tried to make spirit varnish using colophony but without success.The varnish was brittle and sticky, I also tried to add a bit of damar which is partially soluble in alcohol but without any success either.

I agree with Martin. It seems he had a factory producing zithers, accordions and probably also violins but he mainly ran a shop selling these. The text on the right side of the label states: "Production of all musical instruments".

I am very well aware that violins made from alternative wood species are rare and personally I've abandoned experimenting with different woods when building violins. But for violas it is a different story. I have been quite succesfully using beech for the back of my small violas. Personally I do not prefer the sound of quater cut maple back viola. I lean towards poplar, willow etc. That's why I was thinking about using Paulownia. There is nothing left to do but to try I guess. Dominik

Dear maestronetters, does anyone have any experience with paulownia wood? I have been searching the forum but found nothing regarding using the wood for the back plate, only for blocks. From what I've found out it seems that it has somewhat similar properties as poplar. Am I right, or did I misunderstand? I was thinking about using paulownia for small viola back. Thanks Dominik

Well, at least you found a gap in the market...

Dear Nestorvass, At first I did not want to attend any of this conversation, but I've got to say something I guess. Few years ago I was in the very same situation as you are right now. I was more than very willing to make a violin. I spent hours and hours on the internet looking for information and step by step guides. I also discovered the opinion that David and others have - that it is not a very straightforward task and that it is not particulary easy to make a living out of violin making. The plan to build a superb violin on the first try collapsed rather quickly. I had to give up all of my unrealistic ambitions and start with what I had - a simple template made by Addie and the videos. Althought I had the impression that I am making the best violin in the world, looking back now, it was a complete disaster. But after that, together with studying university and doing some part time jobs, I found a local luthier who was wiling to teach me and only then I realised what I was doing wrong. Almost everything to be honest. Now I am undergoing a formal training with this luthier mentioned above and only now I can say I am becoming a violin maker. What I want to say with this? Go for it - make a violin, either from the poster or from one of Addie's molds. There are many ways to determine the arching heights and thicknesses. Many of them can be found on the internet. On some of my instruments I started hollowing the plates until I found that they are flexible enough. And it somehow worked, at least for the first instruments. But as you go for it, do not be discouraged and more importantly offended by someone trying to tell you that it is not as easy as you wold think. It is not only about telling you that you can do it, it is also about showing you the other side of the craft. Making 4 instruments for 5000€ per year is a nice idea but it often does not work this way. Plus take in mind that you have to buy materials yourself which is a lot of investments. Thus the price of the violin is not only for the instrument itself, it is also for everything what is behind it. Do not think about it a lot and start working. You will realise it is a great fun if nothing else I have my fingers crossed for you! Best wishes! Dominik

Dear ScotPiper, thanks for those rather interesting informations. Did you have to colour your varnish somehow? Thanks Dominik

I believe that the website is created by Czech violin maker Vojtěch Blahout. According to Google search he is also MN member.

I do not and I do not hesitate to use wood that has knots in it as I find them very atractive. I only try to avoid knots that are not solid and have tendency to move or to fall from the wood. As Wood Butcher says I would try to avoid having them near SP area.

Besides the 17th century thing... What does it play and sound like?

I have no idea since I have never seen the instrument. But I assume not.

violin Rus, thanks for the reply! I know there are church basses with spruce back and I am also well aware of some cheap factory made celli which also present a spruce back. Do you have any pictures of that instrument? I find this story about Testore and his all spruce cello rather interesting thus I am seeking information regarding this particular instrument.

Dear colleagues/Maestronetters Although I know that this kind of topics usually does not have too many replies I am still willing to try it. I am please seeking as many information as possible regarding all spruce (top + slab cut back) cello made by Testrore. It was mentioned several times here on the forum, mainly by Manfio. Photos are welcomed as well! Thank you for whatever you can share! Dominik