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While waiting for my toothed blade plane, I managed to find some time to start the neck. For me this is just measuring a few points and freehand drawing.




I'm not sure I want to post all the ugly stages when I carve the scroll. It's not clean and precise work like I have seen others do here. I just saw a carve.

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That's what I'm working hard on:



Achieving certain plate weights and taptones + Body modes Hz and dB is the physics and logic behind it,as in your comment:


Don: "Here's what I did and this is the result and why it's that way"... needs the physics and logic. 


In addition to that It's intuition and getting use of my "beauiful mind" :)

The rest is subjective to which is difficault to find any other proof than a virtuoso buying an instrument or a violin competition.

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Some maple is just more difficult than others. tried to plane the joints of the back today, but it tears out in the curls.

(Se Planing ribs: http://www.maestronet.com/forum/index.php?/topic/329155-planing-ribs-how-to/?hl=%2Bplaning+%2Bribs)


I'm still waiting for my toothed blad plane so no progress today. I could do it with my old Stanly 102 but I want to start doing things more "professional"


It's good to have the neck/scroll ready so it won't be the last thing to do. The scroll was inspired by Roger Hargrave's double bass scroll. Of course you can't copy a bass scroll to a violin scroll, but I think It's a good thing that Inspiration can come from contemporary makers. It doesn't allways have to be an old instrument.


post-37356-0-65819500-1381657188_thumb.jpg post-37356-0-28980600-1381657241_thumb.jpg




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I'm using my bench as a diary and testing ideas in other topics.

Is it possible to recognise a Strad or DG sounding violin? Hmm (yes it is)

I have a lot of opinions about the 2013 VMAAI finalists, but it's not respectful to the makers to comment that.


The Shure SM8 mic is ~40 cm above the f-holes and the violin is shouting as loud as I could play directly into the mic without any software manipulation. No echo from the room either. Just the naked truth of the violins.


No suprise that this was a very unpleasant experience to Maestronetters.





post-37356-0-85151800-1382072769_thumb.jpg post-37356-0-61287700-1382072785_thumb.jpg


Bruch beginning is a fantastic piece to here the raw sound of the G string and the reflection of the violins body modes.


G Bruch.mp3


If I had more time I would be working on #6... so it's sound analysing instead for now.

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A much better player than me tested my violins last night. In respect to him I will not post the sound clips. He does not play so often anymore but can get the most amazing sound out of violins. Beside Cremonese sounding violins you need a player that can bring this sound out of the violins.


This is a Polish tango:


post-37356-0-76501100-1382695245_thumb.jpg post-37356-0-41525300-1382695260_thumb.jpg


Notice the curve after 4 KHz.

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I don't like the looks of that endblock...besides having a knot it looks cracked. Or is that a pencil line?


It's a pencil line marking the center. I'm going to conseal the knot with ribs, no one will ever know :)

(CT will of course show the knot later, when they scan the violin to try to figure out twhy it is so great)

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Today C-bouts bending


This was one of those days when I should have stayed out of my workshop. Cut my self terrible in the tumb on my home made bending strap:




Decided to continue anyway without it and didn't manage to do a perfect bending job. Then I couldn't find my clamping blocks and started to improvise...


It worked out OK in the end, but this is not an image I like to post:



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