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  1. A lot has been going on since I've been away. Spent several hours the other night watching Davide Sora's violin making videos on YouTube the other night. Wonderful stuff! Great way to learn refinements in techniques I had only guessed at in the past! One of the first video's I watched was the one on tapering the ribs. (Thanks for the translations of the text!) On the instruments I have built so far I have done the dummy approach of a gradual taper from end block to neck block, not understanding the principle of tapering from the upper blocks to the neck block. So my instruments have no stress placed on the front of back plates. Most observations on instruments with this taper taper is that it is exclusive to the front plate, while back plate remains flat. In Davide's video he distributes the 2 mm taper on the violin to 0.5 mm on the back plate and 1.5 mm on the front plate. I'm interested in applying a "proper" taper going forward and am interested in the reasoning behind the taper. And also the reason for making the decision to taper both plates. I mean, it makes sense if the reasoning behind the taper has to do with a desired change the resonant response of each plates. Certainly such a stress would alter the way the plate vibrates shifting or perhaps deadening the some key body resonances. Perhaps this is a way to mute some troublesome resonances that lead to wolf tones? It must alter the tonal characteristics in a positive way otherwise this refinement would not have been made. Interested to hear your feedback on this.