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Found 18 results

  1. Has anyone here ever ventured to model a violin in a 3D software? In the image below, I have a small attempt whose choice was the scroll because it is obviously the most difficult part of the endeavor. The software used is Rhinoceros 7. I also started this to try to better understand how a scroll is designed. Of course, it's not perfect and it's a bit over the top. I'm also using this project to dig deeper into the software in question.
  2. Hi there! I recently purchased a well-played violin with a rich, crisp sound because I fell in love with it. Approximate age is 1850-1890s, but it is unlabelled. After my own research, I believe it to be from the Salzkammergut region, however, it does have inlaid purfling. I did notice that there seems to be some evidence of painted purfling as well, but it appears to be painted over top parts of the inlaid purfling, so I'm at a loss of why that would be. The F-holes are quite large at the bottom and very serpentine in shape. They appear to be hand carved since they don't seem very uniform with each other. They are also very close to the edge of the instrument. There is no label or evidence of there ever being one (no old glue or anything) but it does have the initials "CE" carved into the scroll. The scroll is grafted and pegbox repaired. Overall appearance wise, it seems very well played by a skilled player with a lot of ware around the body where a person would often be in 5th position and beyond. To me, it sounds incredible and it is a joy to play. I'm not very skilled but it has made me play several hours per day the last few weeks just because of how enjoyable it is. I'm not looking to sell it. I am just looking for the provenance of it. I don't care if it's worth a lot or nothing at all because the joy I get from it is worth more than money can buy. Any thoughts as to its origin? Thank you so much for any information you might have. - Antonia
  3. Just a question out of curiosity. If not, where is the major problem doing this with a CNC machine?
  4. I am working on my first violin, I've completed the body and currently working on the neck and specifically the scroll. So far I've finished the volute and I will start working on the pegbox. Here are some pictures of it. I would really appreciate what you ,the members of this forum that have helped me immensely in the past, think. Of course it is far from perfect and any feedback/opinions on how to improve my work, would be a lot of help for the next violin that I will make. Thanks in advance!
  5. So I’m building a wild thing for a client. It’s a modern hardanger similar to what Salve Håkedal has been building. And I’m running into concerns about the weight of the pegbox and scroll. Not a surprise considering that it has ten strings. I have removed as much weight as I think I can from the neck and heel. But it’s still coming in very heavy, no doubt because of the pegbox. 120g? If memory serves. No pegs, holes, or FB. I plan on using some version of perfection/peg heads in 1/2 or 3/4 sizes to both make room and save weight. However it’s still going to be a lot of weight in the wrong place. The answer I’m looking for would be something along the lines of: what can I get away with for minimum dimensions in the scroll and pegbox without sacrificing structural integrity? Thin pegbox walls? Extending the box deep under the scroll? Floor of the box? Heights of the walls themselves? Etc.. I have ( I think) a pretty design that looks balanced but I’m becoming more concerned about weight than aesthetics. rough average measurements are: 5mm at the top of the pegbox walls tapering to 7mm at the bottom of walls Around 5mm thick on the back of the box. It does have cheeks to make more room for the strings to clear. I’ll put up a picture if I can figure that out. no idea is to wild! thanks, -A
  6. Hey everybody. I'm actually working on a cello based on Stradivari Forma B, the one that's supposed to be used to build the Gore Booth. I designed my scroll starting from the picture of the gore booth scroll shown on Sacconi book. Well, I've just finished to carve the second round and I'm about to connect the volute to the turn and I'm wondering about the width of that area, right after the throat. I've checked some measures about that point on violin and I've found out that it's around 26mm on Stradivari scrolls, but I found out nothing about cello scrolls. Don't want to make a copy, but I'd like to know if someone has any informations to get an impression of the development of the frontal line under the throat. It seems pretty impossible to get a picture of that area. I've attached a picture (hope the size will work well) to make you understand better which point I'm talking about. Such a pity that the scale of the scroll is not 1:1 Thank you all and have a nice Weekend Pietro.
  7. Hello, I just aquired this violin in a very bad shape. The good new is that it has no worm and nothing is missing. I think it is Italian, late 17th or early 18th, but not sure. The peg box is very unusual, very Gragnani like, but it might not be original. There is an old, probably fake Sanctus Serafin label. Would someone be able to help me a little bit in my search ? A proper restoration will be quite expensive and I need to know if it is worth the expense. In advance, thank you !
  8. I had this cello pegged as a German factory cello circa 1960 based on the body. I adore these celli for their tone at a relatively low price. Before the work to be done, I set it up first to see if the tone is worth the work. I did not notice this at first, but the scroll is partly translucent. Now I’m not really sure what era this cello is from as I have never seen it before. Purfling is scratched but some idiot ran a black market around the back plate, which is not coming off with water and steel wool.
  9. Hi everyone. I have built my first violin. Not in the most elegant way maybe, but I had a rather limited setup of tools. The sound is rather evenly dynamic between strings/tunes but somewhat loud and sharp. Using a mute results in a more normal violin sound. I chose to give it a couple of untraditionally attributes, for instance inverted pegbox, hollow scroll, large nut, and less prominent corner blocks. I will work on modifications to come closer to the sound I like. Would appreciate comments/tips. What do you think will be the most effective way of making the sound softer? Like with a mute, but without the mute and least possible loss of dynamics. https://www.youtube.com/watch?v=yF_L48biuyQ
  10. Hi Everyone, Could you help me to decode this symbol placed on the back of a violin scroll? Thanks! Regards to All, B.
  11. I am slowly trudging ahead to the day I can actually start carving my #1 violin. I have received a Strad Poster for the Messiah from a very generous member here, and will be making a "based on" not "copy of" the Messiah violin from it. The direction I have decided to go is to try and make it symmetrical, so I am "averaging" the measurements (where there are two values for sides, etc) from the poster and using that average for my drawing. Step one is to be the scroll and neck. Being me, I want to understand what I am doing, and so in digging around, I found Addie's drawings (THANK YOU!) and was going to use the Bett's Scroll drawing he provided (I assume Addie is a he?) I decided to check it against the photo on the poster. That led me to trying to figure out what the measurements on the poster mean - ie. the measurement is from what point to what point on the scroll, what landmarks can I count on while carving. Since I am averaging, I expect the drawing to be off a little - a few millimeters - but close. The following screen shots show my dilemma at this point, I could use some insight into what I am doing wrong (if anything). I KNOW I am over thinking it, but this violin is a teaching aide and my way of learning violin making from wood working to designing all of it. So, I really want to understand what I am doing as opposed to just charging forward making something that looks sort of right. The photo is of the poster and I uniformly scaled and rotated it to fit the guideline grid and adjusted the rotation using the neck line below the fingerboard. Any help in understanding why the grid and curves don't line up what the photo would be appreciated: How I setup the guidelines to check/draw the scroll. Here is what Addie's Bett's scroll looks like on that grid with a photo from the Messiah Poster. And here is what the Silverpoint Drawing from the Bett's file looks like on that grid. And finally here is my scroll on the grid.
  12. Hello to everyone this is De Paoli from Canada I would like to add more photos of tone wood and accessories that we have if there is an interest please let me know as we are moving from our present location over the next month and would like all this wonderful collection to go to luthier's hands! the next few posts will be of pics but if you request something specific i can post many more! thanks again for the interest!
  13. Unknow Scroll - pic 1 Unknow Scroll - pic 2 Any insight as to origin or school (anything) would be much appreciated... The pegs have been brushed, head seems to be pinched, volute slow taper, conical eye large and prominent... I am stymied... Apologies as I was unable to download pics directly to the forum. Thanks in advance!
  14. Hi everyone, I'm currently building my second violin and loosely using a poster for the Del Gesu Alard. As a player I really notice when something is not right with the neck. There's a big discrepancy on where the scroll heel sits in reference to the end of the fingerboard/nut joint between my Johnson and Courtnall generic neck template and the strad poster that I'm referencing. The poster has the heel protruding maybe 2mm further into the neck. I do remember my last violin not feeling 100% comfortable in 1st position, but chalked that up to a pegbox that was too wide. My initial reaction is to follow the Johnson and Cournall template. What is a standard distance between the nut and where the pegbox heel ends? Is this a measurement that you meticulously check? Thanks in advance.
  15. OK......so I was reading a nice article on by John Dilworth on Andrea Amati. He was writing about how lovely the scroll was and how it was superfluous . It got me to thinking about a violin/viola design that only includes that which contributes to the sound, ergonomics, preservation, and stability of an instrument. I was thinking of this in a number of ways: 1. Simpler instruments for students. 2. Better Ergonomics 3. Easier Building 4. Improved Sound 5. Lighter Weight What would you leave on, what would you leave off. Think of it as a streamlined Art Deco violin, or minimalist, or anything you want. just include only what you think is really important. While we are at it how about bows. I am a big fan of Gilles Nehr and his Tete Beche bows, he even has a new, really beautiful titanium tip in the works. I would have given anything for Glasser to leave the sharp point off student bows when I was teaching roomfuls of 4th graders every day. I realize we all love the damn things just the way they are, but I love to deconstruct and simplify things sometimes. Also almost any deviation from the norm does effect sound, just change chin rests ! So that can be a real problem
  16. Hi everyone, When I was looking through my photo library today I noticed what appears to be a star-like imprint on the bass side of a scroll that is designated in my files as belonging to the 1713 Stradivari 'Pingrille'. Of course, this immediately brought to mind the similar imprint preserved on the bass side of the 'Messiah' scroll. I don't have access to alot of literature, but the catalog from the recent 'Stradivarius' exhibit put together by Charles Beare makes no mention of any Strad scrolls other than the Messiah which bear a star imprint. Stewart Pollen's article A Case Study: the "Messiah" violin goes even further and says the star mark on the eye of the Messiah's scroll "is most uncharacteristic, as such a mark has not been observed on any other Stradivari scrolls". So I'm wondering if anyone can confirm that this instrument is attributed correctly in my files, confirm that there seems to be a star imprint on the bass side of this (allegedly) Stradivari scroll, or confirm whether any other scrolls by Stradivari have been observed to bear a star imprint aside from 'Le Messie'. Included below are a couple photos from my files designated as the 1713 'Pingrille', a photo of the Messiah's star imprint as included in the Stradivarius exhibit catalog, and a cropped photo of what appears to be a star imprint on the side of the 'Pingrille'. Thanks, Joel
  17. From the album: Parrot 1977

    Some details...
  18. Hi everyone, I debated whether or not to post here, being completely new to violin making, but I figured some of you might be interested (and I could sure use the help!!!). If the mods disagree with my being here, I'm completely fine with deleting this thread. I'm Joe, aged 16, and I love violins! I was given pretty much all the tools I needed (those of you on Violins.ca/forums will recognise me. I'm not affiliated, just shedding light on my background) and I've started building a violin using un-finished/started parts from a deceased maker and one of my friends (who's a professional violin maker). I'm not building a kit, I wouldn't feel right using pre-made parts, but I can't afford all the wood so I'm using what I can get. The top and back were cut out before I was given them (but untouched by a gouge) and the neck was cut out along it's outline (both of which I've done before anyway) and the sides of the pegbox had been cut out (but not the neck or scroll). Anyway, here's what I've been doing today. It's far from finished, but I can make it look nice from what I've done so far. Any advice is very much appreciated. Thanks, Joe PS All your work has been very inspiring to me, I'd like to thank especially Melvin Goldsmith and CTviolin for their contributions to the site.
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