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Found 11 results

  1. I am hoping to make a copy of this instrument and so far I have the herdim templates, a poster from museo del violino, which has useful measurements, but I am lacking any details of the archings. The Hellier Strad poster is out of print. Can anyone help me in locating them?
  2. I have a fine old cello on my bench right now that needs a new bridge. It’s in now because the cello was bumped and the bridge was broken. I had cut the previous bridge for it and put my usual spread in the feet, but I found that the feet spread wider as the months went on. I suspect this happened because this cello had a rather barrel-like arch and string tension and the arch shape encouraged more spread than usual. Now that I’m cutting another bridge, I’d like to avoid this issue if possible. My question is as follows: Would you put extra spread in the feet when cutting this bridge or leave it alone? I’m concerned about overloading it with too much pressure and I want to avoid using a wider bridge because the bass bar is far enough in that I really don’t want the feet any farther apart.
  3. So here we go for my next question to members of MN. Having copied some of the late period Del Gesus I noticed that all those I have copied have an unsymmetric top arching. All have the zone below the bass side f hole sunken in. (The worst being the Leduc) My first thought was of course that it came from the bass bar but later I questioned this idea because Del Gesus late period tops are pretty solid and second if the bass bar pulls in so much a bass bar crack would be inevitable. I am trying not to find an answer to why Del Gesu made it that way. I rather take the fact that an unsymmetric arching can function. Therefore: Is there any reason the arching must be symmetric? To avoid any misunderstandings right from the beginning: I am not thinking of anything exaggerated. What I mean with this is, if someone looks at it from 2 meters distance he/she wouldn't notice anything.
  4. Hello all, I have just bought what I believe to be a pleasing but unremarkable faux-Stainer violin with a generous selection of "issues", on which to learn the basics of violin repair. Before breaking ground, I am trying to discover as much as possible about the nature of the instrument I have bought (really, just design / pattern), but have quickly run into a couple of questions. In particular, would someone be able to offer me a few pointers on how I might read of the shape / arching of the violin below, or suggest any links / references that might help me fill in the blanks? Despite numerous illuminating posts in this forum, at violinist.com (for example, this excellent post), and the wealth of inspiring images littering the internet (for example, those of the sides of instruments at henrystrobel.com) I can't really identify when arching becomes "high enough" to be fairly described as Stainer-esqe. I am particularly struggling to dirrerentiate between what I would call "scooping" (pie-crust edge?) and "arching-proper" on the back of my donor instrument, which when taken in the round just doesn't seem "plump" enough to qualify for that description (no matter what the charmingly mis-printed label might have to say about things). So when looking at the arching of my instrument, should I be judging the arch height as the full curve + recurve (i.e. including the scooping), or simply as the height of the top of the arch above the edge of the plate (i.e. ignore any edge-scooping)? I have read the term "bathtub Stainer" a few times in these forums, which strikes me as a great way to describe the type of recurve I am seeing in the image of the back, but not the front. Would that be a fair interpretation and if so, is this the target Stainer shape, or does it simply indicate a less-than-faithful attempt or a different source of inspiration? Finally, is this type of analysis just over-enthusiasm on my part - are my expectations of how faithfully an unkown instrument would try to conform to its desired faux-label simply unrealistic? Are most of these violins such a composite of dfferent styles / patterns as to make even identifying a broad handle a bit of a lottery for someone like me, who is relying on images / descriptions generously uploaded by others rather than on any experience or skill? Thanks for your time,
  5. Hello everyone, I want to build a cello based on 1740 Montagnana. The model is not so different from a Stradivari cello except for the heights of the archings that in Montagnana are much higher. I wanted to ask: this greater height proved a less powerful but sweeter sound or even increases bass? Levin
  6. Can someone please explain to me why there are 4 separate readings each for the belly and back arching heights in the Titian Strad poster (see attached)? I can understand the measurements with and without the edge, but why are the readings different when measured across vs lengthwise? Which reading do you use when building the instrument? Titian.pdf
  7. Since hearing about the Betts project at Oberlin I have wondered about the benefits of carving arching deformation into the arching. I wonder if the asymmetry caused by natural deformation of the arch over time is part of the 'broken in' sound. My understanding is that the cnc model was an exact copy from the CT scans and did not correct for deformation. My first thought was that you would have more run out around the soundpost area because it would be deformed upward, and the section of the top that would normally have less runout would be fundamentally different. Perhaps this makes little to no difference, however, my next thought was that you could do an arching correction and produce a top and back with the corrected arch, then have a counter form of the exact arch. If you broke in the instrument for a certain period of time (6 - 12 months?), then tested it before pressing the arch in the counter form you could hear something of the difference between the arch pre and post deformation. Perhaps this could even be done by a large number of Oberlin attendees and do the test, arch press, and retest at Oberlin as a crowd sourced project. It wouldn't solve the question of whether to carve some deformation into the top from the start, but I think it would be interesting. Any thoughts on this?
  8. Hi, I 'd like to make a violin based on the 1677 Stradivari's Sunrise but I haven't found the arching of the top and the back . Can anyone tell me if and where they can be found? thanks and ciao Levin
  9. Rue

    How high to arch?

    I know very little about arching, but looking at this violin (eBay offering) is the arching so high as to distort the violin? It looks to me almost like it has folds in it! Why go to this extreme (if this is extreme)? http://www.ebay.ca/itm/Fine-antique-Professional-Level-high-Arched-4-4-Ready-to-Play-/321651733742?pt=LH_DefaultDomain_0&hash=item4ae3eff4ee
  10. jowl

    Nasal tone

    Are there any tricks to avoid a nasal tone when constructing the plates?
  11. Hello everybody, this is my first post on Maestronet, although I have enjoyed following many discussions. I'm making a new cello for a customer and I've just completed the varnishing process. When I went to string it up, I realized that the projection had dramatically changed from 80mm to 92mm. As I do for all my instruments, before starting to varnish, I set up the cello and had it played for a week in the white. As everything was fine I removed the whole set up, including the fingerboard and post and began the varnishing process. It took almost two months and half of the time it was under UV light where I kept the cello humidified. Throughout the two months I had issues with some persistent open seams which I attributed to heat in the UV cabinet. Since I discovered the projection problem I removed the front for a thorough inspection and found the front arching quite distorted. All the corners, specially on the treble side, curled up and the cross arching had flattened, causing the f-hole wings to raise above the central area. I measured the arching heights both top and back and found that they had dropped by 3-4 millimiters. Since then I clamped the front onto the ribs to keep it flat as well as setting the old post, which I had to cut down a couple of millimiters in order to stand it up. In the last 5 days I've managed to gradually pull the post to its correct position and that has helped the projection to go down by 5mm, so that it is now 87mm. I was told by the supplier that the wood was seasoned and ready to be used. I haven't glued the top back yet and am wondering if this has happened to anyone here. Any suggestions would be most welcome! www.protaniviolins.com