Davide Sora

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About Davide Sora

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  • Birthday 01/07/1964

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    Cremona, Italy
  • Interests
    Violin making

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  1. Yep, I consider Hieronymus' scrolls above all other Cremonese makers for refinement and taste. But limiting the field to the archings do you see this Brescian influence?
  2. What makes you think this? It seems to me that the back and the top deform in a different way.
  3. I read the book and tried to follow its construction system in the early years (it is easy to be fascinated by similar things at the beginning) but apart from the complication I realized that it led me to do things that were not seen in the original archings or interior work, or at least that I have never seen. But don't take this as an attempt to discourage you from following his method, our conclusions may be different and our goals too
  4. I think blending the area just inside upper corners is the most difficult task in arching making, if you tell a student to be careful not to dig too much he will leave too much wood and if you tell him not to leave too full he will dig too deep in this area However, I agree with Evan and I prefer to make this area more flexible due to the intrinsic stiffness of the arch just above the F holes and the proximity to the per se very stiff corner blocks area. I suspect that Del Gesù was not wrong at all and that he did it intentionally even if perhaps his proverbial little accuracy led him to exaggerate a bit every now and then. I also believe that this dispels the myth that he was inspired by the Brescians, who do exactly the opposite, but in this case I'm going a little too far beyond my knowledge of non-copyist maker, I could easily be contradicted. However, the arching posted by Michael Darnton is very beautiful, an excellent execution of that area
  5. Hi Michael, at the moment there are no denials or confirmations for Mondomusica, I have doubts that it will be possible to make event like that, too many people around, but we will see.
  6. Yes, I also think they have gone too far adding reverbs to accentuate the drama, The recording is made with a microphone on the violin, it is seen in passing in some close-up images. I think they didn't have permission for a crew of technicians to manage a live recording, for the obligation to keep social distance.
  7. I like your approach, you are a philosopher. I always talk to wood and violin to convince him to behave well, do I have to worry about my mental health?
  8. Yes, he makes a specific reference to the book "Segreti de Buttegha" and dedicates a chapter to it if I remember correctly. I also believe that Peluzzi's theory fits perfectly with the inside first method, but it doesn't make it more appealing to me I don't have any notes from Stradivari, but I have some notes from Guarneri that my great-grandparents had found in the cellar, do you believe it? After all, they were from Cremona and this is more likely than Peluzzi's supposed Stradivarian notes.
  9. There is no doubt that there may be a relationship with internal reflections, but proving it is stuff for modern scientists who like to have fun and who have a lot of free time. To say that this was the "technique of the ancient Italian luthiers" is highly improbable and at least pretentious, do you see Guarneri del Gesù doing all these calculations?
  10. I used a piece of olive tree that was too beautiful to remain unused. For the part in contact with the hand and the chest I am working on it : I thought of making it interchangeable in order to do some test to establish the optimal shape.
  11. You're right, this is the son, Euro Peluzzi. I'm not sure what he smoked in the strange pipe he holds in his mouth while he elaborates his theories.