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  1. Is that a notch under the end pin on the back plate ?
  2. Delabo

    Leveling a crack

    Would you then rub down the cast to make it flat where the crack is , put the plate face down in the adjusted mould, and then apply hot sand to the back ?
  3. Delabo

    Ribs height

    I have just re-read your answer and think I get it. So are you saying that the taper on the ribs is just a reflection of the whole violin (and guitars) in that many of the parts also taper ? Which in turn is a refelction of nature where most things taper. Trees taper from the base to the top as do most plant stems. Human hair tapers, legs taper, arms taper etc etc etc. The neck tapers, the scroll tapers, the pegs taper, the tailpeice tapers etc etc. So it was just natural to make the ribs conform to the rest by tapering them.
  4. Delabo

    Ribs height

    I wonder if we sometimes look too deep into why things are done a certain way. Violin making evolved from other forms of musical instruments that were also tapered and they in turn probably copied from earlier methods.In other words it was always done that way. "Entasis" explains a little about visual tricks that are designed to deceive the eye. Maybe the ancients were trying to emulate the beauty observed in nature which is not all straight lines but organic and flowing.
  5. Delabo

    Ribs height

    Ouch ! My eyes hurt ! Did I misphrase my question ? My question was not about acoustics but the visual aspect of Cremonese instruments. I was asking if in your opinion do they LOOK nicer because they taper ?
  6. Delabo

    Ribs height

    As you have had the enormous privilege of handling many Cremonese instruments, is it your experience that they seem more alive and organic than a violin that lacks this taper ? We all know about how the Greeks incorporated optical design tricks to create the illusion of perfection, do you feel that when you handle these instruments ?
  7. Looks like you have unwelcome visitors. I wonder if the the top block has been eaten away and needs replacing ?
  8. Is this just a strip of ebony carefully inserted into the corner or is the whole corner block ebony ?
  9. I have to say that I like this corner. He must have been a good craftsman to get every corner exactly right, because it could easily look awful if not executed precisely.
  10. Is it built using an outside mold ? And if it is, what are the clues to differentiate it from trade French and Italian violins of the same period ?
  11. How many rib variations can be found on old instruments ? The common one is that of the mitres to the inside of the rib corner. But it has been mentioned that some makers mitred to the outside of the rib corners. And even more intiguing a mix of inside and outside mitres on the same side. Any information about the the rarer form of mitres ?
  12. Not wishing to derail this thread so I will start a thread in the pegbox about rib mitres.
  13. Are they makers that feather the rib any other way than inside ? For instance on the outside, or even a mix of the two on the same side ?
  14. Delabo

    Ribs height

    As you are in Spain perhaps you could ask a classical guitar maker why they taper the ribs from higher at the bottom block to lower at the neck ? I think it was also this way on baroque violins.
  15. If a makers entire output looked alike as if they came off a production line would they have the same appeal ? I have been researching " Don Nicola Amati" (Marchioni) and they all seem to look different but somehow gain a certificate because he was "idiosyncratic".