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  1. Thank you all for your help! I made some corrections at the corners of the ribcage and shorted them a bit. I put the stop length at 193 as the original violin. I let corner s overhang only at 1.5 mm. So, I get an opening of 7,2 and 0,7 distance from the f lower notch. Of course, corners are close at the original violin /it is not about a Strad or DG copy.
  2. By the way I located what I missed. The violin I copied has small overhang at corners 0,5 mm. Mine is 2,5. If I cut down the corners and decrease 1 mm mold / rib corners I get 7,2 mm or more, which sounds good. Does this make sense? Thank you all for your answers and your time.
  3. I have read it long ago (with the dividers and the way you design the corners) . It is excellent. Geometrically, center circle applies to the 4 corners. Problem is that their distance is small. I get it. (No way back now) I think I will get small (or no) advantage from top 's arching and smaller stop length. I think also that I have to go to the end and finish it since there is no available correction to it at this stage.
  4. Pattern s violin has some repairs at corners but not extensive damage (like bow hitting on edge a lot) . Also has stop length at 193.
  5. Hello. I finished ribcage and back of a violin (shape is taken from an old one) and I am wondering if the corners are too close to each other. The back is 356, and 112 the distance at the middle. The distance of the (unfinished) corners is 6,7 cm. Will this distance and the lower corner produces problem when bow plays at E string? The arch height of the back is 15. (The stop 195mm is the position I have at left, marked with pencil.)
  6. Thank you for your directions and answers.
  7. Thank you a lot for your answers. Since, I decided to do it (and in earlier restorations, if this done properly in some cases it does not seem bad at all) I would like to here more opinions on tools. Thank you for your suggestion. I have used in the past shellac based medium and black dye, but never ink.
  8. Happy new year! I have a violin with painted purfling that has wear off a lot, both on top and back plate. I could restore it by hand (with small brush) if the problem was smaller. A thing that I did with success at an older restoration. I would appreciate if anyone could give me an idea how to make a tool to repaint the purfling. Best wishes for 2021! Stay creative, healthy and share nice emotions!
  9. I agree. Thank you David for your wise words. That is what I would like to mean above. Arching, setup, treatment etc. are considered seperetly for each model we make and we have to be accurate. I had only original measurements of the back and that is why I followed that outline. I did not say I 'copy' a Guadagnini (and I do not think ever I copied an instrument). I said my mold is based on a Guadagnini.
  10. JB Guadagnini 's ex Krasner 1766 is 4 7/16 inches at the middle and Van Atta 1773 goes to 4 11/16 that means 119mm. This is the reason I ask, when middle section considered as' too wide'. Arching varies from flat to middle height.
  11. 113mm are measurements at the book and not mine, on the specific violin. My mold is 106mm that leads to final 114~115 ribs+overhang.
  12. Thank you for your answers. I have 2, 3 mm difference from original measurements. By the way, when you copy a violin do you ever achieve 100% at wood, Wood treatment, ground, colour, dimensions, arching etc?? (2,3 mm is the problem?) What do you copy - Dimensions? I asked about middle bouts and not about copying directions (that are very relative and widely discussed in other topics).
  13. Hello! I just finished a mold on a Guadagnini violin. I am working from photos (followed the outer purfling line / about 2 overhang and 1.2 ribs). Also I reversed the one side to achieve symmetry. The origimal measurements on middle bouts are 113mm. My mold is 106mm at the middle. So, I go for a ~114,115 middle. I was wondering if 114~115 is too big for a violin, since most of strads and del gesus are below these numbers. Will be playing at E string comfortable, or the bow will hit easy at the edge? Which are the limits at violin bouts in the end? *(the original violin is 351~352, so would like to add some mm ot get a 355). Thank you!
  14. Thank you so much all for your answers I have seen many of his videos. Nice material. I tried that with linseed oil and walnut + turpentine. Very nice result, but enchaces problematic areas too. Maybe this is the truth, but worths searching something more.
  15. Hello. I have finished a back with weak falmes. When I tried methods of enchacing (in a piece from the same wood) the flame with linseed, walnut oil or an alkaline solution (sodium bic.), the vertical grain is enchaced but the flames not. What could I use in this case, in order to hide a bit the grain and enchace the flames? Thank you