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  1. Very nice photo. Thank you for that and for your time. (Please, note the title of the book, even if I cannot read Dutch). This is the way I knew from English makers and I mentioned before - as the outlined board. What about the flat board (or on table building)? - I realize from the convesation that, after ribs and lining, ribcage was unattached from board and immediately traced unsuported. Flip the flat square board makes no sense to me. I use molds. This is why I have the questions on unsupported ribcage.
  2. I am still scratching mine, about the idea of turning all the board with the ribcage upside down and trace the outline. In this way, if you trun the board upside on a plate, you can trace the outline without the overhang and that again seems impractical. So the options are 2: It is impractical Or Information are missing (or it is my problem that I do not understand)
  3. A -Outline (the ribs position) on flat board B - Blocks glued on board C - Ribs attaches and glued on blocks + lining D - ? (Turn table and trace on plate? Seems not practical. If dettached, the ribs will not be supported by anything.)
  4. Basic questions still remains, since I tried an outline on a square flat table. How do I trace at plates after ribs are completed?
  5. This is what I was asking too. But maybe, if the square board is just about the the width and length of the violin (1 cm more each side), you can turn the board and trace the outline at plates. It seems that this is the method follows Mr Saunders and looks logical. The question was about "built on board method". Of course someone can start on back, without corner locks and 'guitar like' lining. The problems with the simple built on back method are - prolonged corners, not easy to get horizontal ribs everywhere and that means bigger difference between plates. Built on back with mitres or half mold makes things much easier. With board, you can check easy the axis of the ribss' structure.
  6. Thanks for your comment. So it is seems like a clear built on back method with corner blocks. Did you ever tried without corner locks and thicker ribs?
  7. Congratulations for your research. It is truly a good reference for the different methods of violin making.
  8. Thank you for your answers. Boussu etc. were misleading by myself. I understand your point. Please, l would like to know more about Luff's method. I do not think that is elsewhere discussed so it is a chance to have some of your knowledge. Sincerely.
  9. https://www.jstor.org/stable/44083113?seq=1 You can read it for free just with registration. Otherwise here https://www.google.com/url?sa=t&source=web&rct=j&url=https://hal.archives-ouvertes.fr/hal-02086598/document&ved=2ahUKEwi5mrG6x6fsAhWRonEKHVvvDgIQFjAAegQIARAB&usg=AOvVaw2zWtMRcXGEGAxrDN0YkR_Y There are related YouTube video series on Boussu violin making method. Mixed method, on back, with mitres and nice shaped neck attack. William Baker's viola, simplistic construction, with cedar table is discussed at Shapes of the Baroque p. 76. (impressive the use of cedar before Torres, that said to be the first used cedar for guitar tops). How big was the board that you used about? Just bit bigger than plate's dimension?
  10. I understand the built on back styles and the related Boussu method, W. Baker's on air viola etc. A flat board with right outline is possible, so someone can trace and glue back or front. But on just a flat square board, isn't the structure unsecured when detached? Of course can be possible in my mind, but the final result will be a bad shaped instrument. When you tried this method, did you use skeleton inside to hold the blocks?
  11. I was reading Strobel's Art and Method of the violin maker. At page 29 refers to an English method of building a violin on a flat board. Inner line drawn, blocks placed and the ribs and linings attached. Is this method possible? I can imagine attach everything on a board. But when blocks pulled off, does the structure hold its shape? How can be traced the front or back if corner locks are on board? Thank you
  12. me neither - but for cheap violins, that are glued with God knows what kind of adhersive material and very fast restorations, blade can be used.
  13. Violin necks can removed with Japanese blade, the one that is used for mandolin,guitar etc. frets. And I have seen many (cheap) violin necks removed that way. https://www.fine-tools.com/japanische-feinsaege.html (look at the 0,2mm blade) (for 20 euros is cheap enough, and you can use it at bow frogs and other things.)
  14. Thank you for your answer. So, do you think that Jalovec is not a proper resource for plans?
  15. Hello. I plan to make a Maggini violin model based on Jalovec's drawing (Italian makers). Also "Paolo Maggini, his life and work" book from Hills is very interesting reading. Is Jalovec's plans a good material to work with? Since I plan to make it without mold, on the back, and this is the first "on the back" violin I make, I would like to know more about that way of construction. Here in Maestronet is mentioned an old Strad 3 pages issue CONSTRUCTING A BRESCIAN VIOLA / Ruth, Benjamin (March 2006) but I cannot find to buy it anywhere. The Strad sells issues from 2010 and after. Also, my local library has no Strad magazines. Also, there are several discussions on building on the back, and somewhere is mentioned Leroy Geiger's book on violin making (something that I am not sure if it worths buying). Which would be the better method to follow? If there is something helpful that I can purchase I would be happy to listen (except books like "1520-1724 Violinmakers in Brescia", that I cannot afford the price).