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Found 11 results

  1. 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
  2. Hi Everyone, Could you help me to decode this symbol placed on the back of a violin scroll? Thanks! Regards to All, B.
  3. Frank Nichols

    Help drawing scroll template

    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.
  4. Pietro.Moltani

    Stradivari cello scroll

    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.
  5. 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!
  6. 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!
  7. BigFryMan

    scroll heel position

    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.
  8. Dwight Brown

    Back to basics

    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
  9. Joel Pautz

    Strad Scroll Star Imprint

    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
  10. franciscus

    Scroll

    From the album: Parrot 1977

    Some details...
  11. 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.