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Wow, what is going on here?! Thank you all for the compliments, but I still think it is just beginners luck.

Peter KG, the sloping f holes are only one of the "hallmarks" of a beginner's violin. As mentioned in the first post, there are many more.

I am finding it a real challenge in getting the f-holes strait as so many curves interlace in the c-bout region! In addition what Jacob said, I also feel that the fluting of the f-hole wing does contribute to the "straightness" to some degree.

I tried to improve on these issues in Opus-2, but unfortunately with limited success, which I guess is the reason things progress so slowly. But Jakob (Tomas younger brother) started secondary school this month and he now needs a full size violin - so a great motivation to finally finishing Opus-2! And things can only get better with Opus-3... :rolleyes:

bcncello, Yes my avatar here and on the label is the coat of arms of the city of Basel - We call it "Baslerstab" which has its origin in a bishop staff. The coat of arms from the city of Basel are normally shown to be held by a Basilisk (Dragon with a snake tail).

The meaning of the letters E and X in my avatar mean (no surprise here) ex - in my case "ex Basel" = originally from Basel. Antonio had AS and I have EX ;)

 

Cheers, Peter

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flat lying f-holes are a myth imho. They should lie nicely, but not flat.

 

They are not perfectly flat, but there is really a great difference in how both arching and f-holes act together for perfection

 

Making Violin 3 I didn't know this:

 

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Making Violin 4 I understood how:

 

post-37356-0-82339700-1360848352_thumb.png

 

Later I studied Strad 3D and understood more:

 

post-37356-0-66808000-1360848624_thumb.jpg

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I'm not sure aiming for a perfectly flat inner edge is all that beneficial to the arching as a whole. Apart from the Cannone, none of the Strad posters I have show a perfectly flat inner edge. On the other hand, some sculpting of the lower f-hole wings seem to be evident in several examples.

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Interesting comments. I tend to agree with John that the f-hole as a whole has to look well integrated in the arching and most Strad (I have seen in pictures) are not 100% straight, but have a pleasing appearance seen from side and top. And my goal is to get this "look" eventually.

Cheers, Peter

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yea . I'm wondering what folks think of WHY the ff's are, I call it drop ,  in the cremonesse fashion,on some that I saw,you could about see 'thru" the top  ,I've been carving mine down like Ben C  showed recently....but my fear is that the drop is due to movement and not the carving ,over time, if the top gets squished and folded over the course of time, could that result in a less than parralell slope of sorts? a negative effect ...the Plowden certainly has a very low aspect in regard to the outer wings of the  ff's rise above the rib joint plane.at least from what I can see in the poster.and  Very NICE work BTW ...

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It's how a strong arch is complemented by the soundholes. Carving them out of the plate that way grants use of the strong, convex cross arch before the downward plane of the lower bout to the bottom block, but breaks more of the plate up to allow projection. I agree that Ben's pre-fluting is just proper genius.

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