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Showing results for tags 'measurements'.
Found 5 results
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Hey all. I'm currently trying to make a copy of the Davidov Strad cello, but the posters are no longer continued. I've searched all four corners of the internet and I cannot, for the life of me, find an available poster. If someone would be willing to take high resolution photos of the poster (so that I can read the measurements!) that would be great! If not, any other forma b celli or modern forma b celli plans would be wonderful. Thanks.
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Dear all, I'm about to start making my first cello. I'd like to get your insights on the process. I'm planing on making the back arching higher the the top arching according to the method described by Torbjörn Zethelius and I'd very much appreciate his comments to this post of mine. I know that the current measurements are with a higher top arching. I traced the model according to the method described by François Denis and would very much appreciate his comments too. I'm still confused about the rib height though. Please feel free to comment and modify my measurements. A list of measurements follows below. 1. Length of template and mold - 735 mm 2. Width of upper bouts - 346 mm 3. Width of CC bouts - 245 mm 4. Width of lower bouts - 435 mm 5. Rib thickness - 1.7 mm 6. Height of ribs at end pin - 125 mm (The original one according to the poster is 123 mm) 7. Height of ribs at neck root - 120 mm (The original one according to the poster is 117 mm) 8. Arching height - top - 32 mm 8.a. Top thickness - center - 5.5 mm and 4.5 at FF-holes and closer to the edge 8.b Top thickness at lower bouts - 5.0 mm and 4.0 mm closer to the edge 8.c. Top thickness at upper bouts - 5.0 mm and 4.0 mm closer to the edge 9. Arching height - back - 30 mm 9.a. Back thickness - center - 7.0 - 8.0 mm 9.b. Back thickness at lower bouts - 3.8 mm 9.c. Back thickness at upper bouts - 3.7 mm 9.d. Back thickness at CC bouts - 4.0 mm 10. Edge thickness of lower and upper bouts - top - 5.5 mm 11. Edge thickness of CC bouts - top - 6.0 mm 12. Edge thickness of lower and upper bouts - back - 5.0 mm 13. Edge thickness of CC bouts - top - 5.5 mm 14. Fluting depth compared to edge thickness - 1.0 mm 15. Edge distance from the ribs - 3.5 mm 16. Purfling thickness - 1.7 mm 17. Purfling distance from edge - 5.0/ 5.2 mm 18. Corner width - to be determined according to the model and overhang 19. Stop length - 400 mm 20. Neck length - nut to top edge - 280 mm 21. Neck length - nut to neck root - 288 mm 22. Neck and fingerboard thickness at nut - 28 mm 23. Neck and fingerboard thickness at neck root - 34 mm 24. Button width - 28 mm 25. Button height - 23 mm 26. Fingerboard length - 590 mm 27. Fingerboard width at nut - 31 mm 28. Fingerboard width at lower end - 64 mm 29. Fingerboard flank thickness - 8 mm 30. Fingerboard curvature radius - 70 mm 31. Romberg - 9 mm at nut and 22 mm at lower end 32. Fingerboard projection at stop - 81/82 mm 33. Fingerboard overstand at neck root - 21-22 mm (Since the model is very wide) 34. Lining thickness - 3 mm 35. Lining height - 15 mm Thank you all in advance, Peace, Lev
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This came up in another thread, and I thought it might deserve a little attention of its own. I've noticed on this forum (and others) what I consider almost obsessive attention to minute details, and have been wondering when does it matter, and when does it not matter. Where is that 'line'? I think, if you want to produce a great product, you need to be aware of all these details, but if it ultimately doesn't matter, how much of your time are you going to devote to it? So...since I don't make violins...but I make other stuff...I am using a knitting example of my own. I'm surprised at how well knitting compares to violin making... So there are actually two questions mashed together: 1. How much time should you devote to details? 2. Has the internet (as a discussion/teaching tool) stifled creativity - since it leads to a consensus that there is only 'one' right way to do something?
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Folks, I've been approached by someone wanting a lira da braccio! I know of several, including the da Salo and Giovanni Maria in the Ashmolean, as well as the Linarol in the NMM. The Ashmolean has the Hill drawings of the Maria, but other than that I am not aware of any good tech data on one of these beasts. I'm hoping some of you will be able to point me towards additional resources, comment on the quality of the Hill data, or talk about your experiences making a lira. Thanks so much!
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I am new to the art of violin making. I am going to try first with a simple violin, this is really just a practice instrument, so I'm not bothering with using heat and pressure to bend the back and front, or stuff like that. I have a design to trace off of, (courtesy of Peter Horn) and I have the wood I need to construct the back and front. However, while I was talking with Peter, he did not give me actual rib measurements, so I'm floundering around looking for rib measurements. I understand that there are many different ways to make ribs, and that they vary from maker to maker. If someone could reply with a set of measurements (I can't find them on the web!) that would be great. Also, I'm still trying to figure out what a rib is. Looking through the first few pages of this forum, I found a drawing that had 6 blocks of wood at the top and bottom, and some at the corners near the middle. I think I have a good idea, but I'd like confirmation, as that piece of info is a prerequisite to making the ribs, obviously. A brief explanation would be excellent, thanks in advance if you do
