Davide Sora

Good violins can be made in many ways, but it is heartening to know that there are people who think like you. I am one of those who believe that manual work is still a significant added value, especially in these times where technology seems to make it more and more superfluous. This would lead to a slow but inexorable loss of traditional working systems. While understanding and respecting those who make different choices, all my respect and admiration to those who consciously decide to keep them alive for the next generations, including me ambitiously among these I am firmly convinced that working by hand is not a losing battle

I have the complete set of videos for this https://www.youtube.com/watch?v=f6kCD4XtaZ4&list=PLaxadm6POX7Hy2CxMIMU5wcOOBxxNsq5r In slow motion the "sound" is not so good.....

Apprentices around?

I vote for a will to add mass instead of strength. Does it look right under the bridge?

Me too. One of the information that I find very useful is to understand the direction of the fiber expecially in the spruce, not easy with a cnc.

Hi Joe, thanks for answering. Of course I did not want to question the historical reliability of your varnish, the materials are there. It was just a curiosity to be able to investigate the process better, as I think that coloring the oil is one of the possible ways to obtain sufficient color intensity in a little thickness, but until now I have not found anything ancient in this sense. I will go on looking for evidence again.

Welcome to the "clean" world.....

Ah, thanks, now I get it. Of course a gold is a gold, the merit is indisputable and my sincere congratulations go to everyone (expecially to Mira ), but only for better understanding of the balance of the competition, it should therefore be specified in which category is gold and in which category the certificate. It makes a difference to me.

A very busy guy..... Ciao Angelo!

Some people say fifty years. If I'm not mistaken, the Hills were among them. I never believed it.

What is the difference between the double gold medal and the gold medals without specification? VSA prizes have always left me a little puzzled (only on the meaning, not on the merit of the winners of course) Violin Double Gold Medal for Tone & Workmanship : Mira Gruszow & Gideon Baumblatt Gold Medal : Justin A Hess - David Leonard Wiedmer - Philip Ihl Photos of the winners?

Exactly! I use a big Stanley n7 to prepare the pieces and a small 9 1/2 stanley to finish the surfaces to be glued, even for cellos. Both with rectified sole, brand new does not work well for precision cuts. Samurai blade on the 9 1/2.

Finally I was able to read the article, very interesting. I have noticed that you are looking for many connections for the historical reliability of this varnish, so I wondered if you found examples of ancient procedures similar to yours. I refer to the system of attaching the color to oil, because I never found anything about it in old manuscripts, but I did not do a real thorough research. So I would like to ask, is this a procedure that took place in ancient times?

I do not think that the excessive weight is due to your thickness, which does not seem too thick or at least not so to justify too high a weight. I would look at chinrest, fittings and fingerboard weight, plates, neck and wood density and weight in general. The thicknesses are the least influential on the weight within reasonable limits.