dpappas

Duane, I am just learning the basics, so I used poplar and pine because I expect this "violin" will be useless and kindling at the end. I didn't want to commit to spruce and maple before cutting my teeth. Yes, I should have said the Huberman, because that's the poster I happen to have.

Don I was not going to copy graduations, as they should be specific to the wood used on a given instrument, but your point is well taken. I was more interested in outline and the overall "feel" of the arching. I am not looking for an exact copy per se. Eventually, if I can figure this all out, I will likely design my own form and arching, but I don't want to get ahead of myself.

Out of curiosity, did you move the bass bar and sound post positions? That would certainly play a role in the frequency response.

Thank you. For this poplar and pine special, I am using the Gibson strad outline and archings.

Good points, thank you both. I bought some cheap cheap wood today as I am teaching myself to glue and do the really basic stuff. Maybe I’ll use it for my first mold. I’m trying to go slow so as not to spend too much at once.

Hello, I am thinking of self-teaching myself to make a violin. This is a hobby and I do not see myself quitting my day job (Chemistry professor). I have “the art of violin making” and I intend to try some cheap wood from the hardware store first just to get a feel for the work. I have always been captivated by del Gesu’s instruments. Which style do you recommend to start with for inspiration? I know this is a loaded and naive question but i don’t feel like buying all the available strad posters. I’d like to take a stab at making a violin, I might as well start with a Guarneri.

That’s the biggest factor I think. I have played a lot of instruments blind and I find that the sound and label do not always correlate. I intend to measure the SPL of high-end instruments up close and at a distance when I am again able to travel (and when I have enough time...).

When I hear tales of instruments that are quiet under the ear and yet fill a hall, I wonder how many measurements have been made of this phenomenon. It is always a perception, and anecdote, and not hard data. Sound pressure decreases to the square of the distance. Now, building acoustics play a role and perhaps that is what people are hearing (again, not measuring). The scientist in me--I'm a chemistry professor--has studied violin construction, varnish, etc., and my hypothesis is that ultimately its wood and arching, craftsmanship, that truly matters. The studies that new, high-end instruments hold their own when confirmation bias is removed proves that. In my own experiments, sound close up correlates with overall volume at a distance. Violin research is my side hobby, and is currently hampered by lack of access to truly great instruments (Bein and Fushi did let me make a bunch of measurements pre-pandemic, but these days it's hard to travel to experience excellent instruments).

David, thank you (and to Mr. Manfio as well!). I meant sound pressure levels, as in overall loudness measured with a microphone or SPL meter. I’ve found that an instrument that can move air like mad will do so, and under the ear it’s intense!

I am not referring to expensive just because of provenance. I’ve played some old Cremonese and Brescian instruments that underwhelmed. When playing a great, projecting instrument, how would you describe the sound under the ear? I imagine a penetrating instrument with a carrying tone would be a bit intense under the ear. I find when trying instruments the ones that please me under the ear don’t sound as good when others play them for me during the evaluation. Is my experience atypical? I find a responsive instrument is intense and the feedback (aural) really tells me a lot about intonation, etc. -dimitri

It’s from the Amber Strings Workshop, Zhong Long Shen.

It is weird. I replaced the tailpiece with Castel boxwood and a boxwood chinrest. The pegs are wittner finetune. Hence the black color.

I’d say so. Plus the shelf space you saved from having to store that paper weight.

I am comparing the Liu Xi instrument I have to another Chinese workshop instrument, albeit of much higher quality, as our local shop orders many and sends back what they deem inferior. I'm open minded about what I play. One day I'd love to own a Burgess, or a Darnton, a Curtain, etc. A new instrument by a maker in the US (where I live) is a long-term dream but as a hobbyist player, I can't justify the high end purchase until all my kids are out of college and even then its a lot of money for someone who does not earn a living with the instrument. But to get back to my point, the Liu Xi is a decent instrument for what I paid. It's just my other Chinese instrument blows it out of the water, sound wise (and actually gets a lot of compliments from others who play it). Here are a few pics of my other instrument for comparison

The "memory" issue the least likely idea, given that pitches have changed over the years. The Tonerite seems to have the biggest influence in those who are trying to justify it's purchase.