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Hi everyone,

I am Levin, an italian amateur luthier. This is my first time on Maestronet and I hope to learn many things from everyone of you.
 
Before starting to built the violin, I read the book of Sacconi "I segreti di Stradivari", the Strobel's books and  "I quaderni di liuteria" from Cremona. I have designed the violin's mold in line of the Stadivari's PG mold (with this tipe of design process is possible to have the measures of violins according with the golden section). 
 
The disign is this (the measures are in mm)

marza.jpg

 

What do you think about?

Ciao

 

Lev

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Hi everyone,

I am Levin, an italian amateur luthier. This is my first time on Maestronet and I hope to learn many things from everyone of you.
 
Before starting to built the violin, I read the book of Sacconi "I segreti di Stradivari", the Strobel's books and  "I quaderni di liuteria" from Cremona. I have designed the violin's mold in line of the Stadivari's PG mold (with this tipe of design process is possible to have the measures of violins according with the golden section). 
 
The disign is this (the measures are in mm)

marza.jpg

 

What do you think about?

Ciao

 

Lev

Lev,

 

Well, I am very impressed with your drawings. What software did you use?  What woodworking skills do you have?

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Hi Enthusiast,

i'am working with CAD. This software is used for technical/architectural/engineering applications but for me is great also to develop the violin's line. In the past i worked the wood to make many little objects. In general I think I have some ability with woodworking without being an expert.

 

Lev

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Those are really rad schematics Levin! I am in the midst of reading the Saconni book as well (albeit in English) and I was wondering where in his layout method you see the golden ratio show up? When I was looking at his method (which I don’t have in front of me at the moment) I don’t remember seeing anything that I would expect to construct it; and looking at your measurements I don’t think I’m finding it either. Unless it’s in a ratio between inlabled measurements? Or you mean something else?

Thank you!

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In the drawing is not highlighted the purfling but the ribs of the violin. The sequence is: mold+1,2mm thickness of the rib +3mm offset to get to the edge of the plate (green line). The purfling should follow the thickness of the rib, I would do the purfling 0.4 mm black / 0.4 mm white / black 0.4 mm.

 

Lev

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Those are really rad schematics Levin! I am in the midst of reading the Saconni book as well (albeit in English) and I was wondering where in his layout method you see the golden ratio show up? When I was looking at his method (which I don’t have in front of me at the moment) I don’t remember seeing anything that I would expect to construct it; and looking at your measurements I don’t think I’m finding it either. Unless it’s in a ratio between inlabled measurements? Or you mean something else?

Thank you!

Hello,

the description of the construction of the mold in the book of Sacconi is not completely accurate. Luthiers more experienced than me have developed the design of Sacconi rebuilding all the steps and ending the mold (which is practically impossible to do if you follow the Sacconi's instructions). The golden section seems to me that it is not mentioned by Sacconi. It is the relationship between the various internal measures of the form as they are taking them to the middle line.

 

Ciao

Lev

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Never mind the details. Get the mould made (don't be tempted to experiment, especially not with the corner blocks shapes) and build the thing. The trick is to be bold and build as quickly and as efficiently as possible. Don't let yourself get sucked into too many arguments about how and why. None of us ever made a great first instrument and every one of us still tell ourselves that the next one will be better, even after several hundred. There is no substitute for doing it, even (perhaps especially) if it turns out wrong. If you have problems come back and ask, but you seem to be smart enough. Violin making looks difficult, but once you have one or two under your belt it gets easier. (I keep telling myself that) GOOD LUCK.  

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Hello to all,
I'm thinning the bands with the scraper and it is the first time that I do this. I realized working the wood that seem to appear "small bumps" right where the maple
have the veining, as if the wood at that point was more dense. Then with the scraper I sometimes "encroach" and on the wood remain small signs, more or less deep, that even after a lot of work does not go completely away. Can i use the band if the marks remain on the inner side of the band? The band is smooth at the touch but I feel with my fingers these little "bumps". My work is wrong or okay?

 

Lev

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