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Anthony Panke

Twins project

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My plans: 

to make 2 violins, one traditionally, the other with scientific/modern measurements to help me optimise things. 

Both are from matching wood, cut from one large chunk so that the wood choice is identical.

Both are modelled after the Viotti Stradivari from 1709 

the outline, arching, thickness and other measurements will be worked identically up to a certain point, after which the working method will be different for each one. For one of the instruments I will calculate the stiffness as per Nigel Harris’ article, possibly measure the speed of sound through different cross sections, carry out modal analysis, whilst on the other one I will go by feel, checking the thickness with callipers and bending the plates in my hand. 

Once I am done with the plates, I will record all measurements on both instruments to refer to later.

this will go on when I glue the rib structures on and work the belly, and I will carry out frequency response curves of one instrument in the white, adjust it this way, whilst the other is adjusted following playing.

Again, once complete, all measurements will be recorded for both instruments before varnishing, then final setup adjustments as above.

identical features:

wood choice,

outline,

f holes, 

initial arching and thickness 

neck and scroll, including fingerboard and elevation 

varnish

accessories used for setup

string choice

 

I decided to call this the Twins project as these instruments will end up as twins of a sort, matching each other, but with subtle differences.

 

Any help/advice on the physics here, or advice in general is much appreciated.

 

 

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To start:

the wood: 

C8BB134F-CE15-4B2F-900D-A5BD8128D95E.thumb.jpeg.8372db31ed65a829856d34b9ea5c6695.jpeg

I cut two backs out of this by sawing down the middle on a bandsaw, (first time using one!) then sawing again to bookmatch the plates.  0C370725-44F9-47BC-B43B-163659E637F9.thumb.jpeg.08357722af1db6717e10566306327c3b.jpeg86CC2339-7BD4-4939-94B4-9F2A2C80AAA7.thumb.jpeg.28f61ce18ed8b169a17ef5a925cf6b93.jpeg

Jointed so the flame matches. 

(The right one is upside down)

...and flattened with a smoothing plane, whilst held in the vice, supported by wedges, which I cut from the excess wood.CD0F3171-9A84-4300-A4E8-82D311FBEB03.thumb.jpeg.0d2ced6a3d9c4b9c9693b036b0ea7e2d.jpeg

I decided to make the flames slope downwards.

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Hello  -  I have just joined the forums for Maestronet after months lurking. :ph34r:

Although my instrument is double bass and bows (and a secret passion for Viola) I am really looking forward to this - as I do like to see contemporary designs either practically or stylistically. This will be an excellent work.

Looking Forward,

Will B

Edited by Will B
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As a normal maker would today. This means using hand tools (gouges, planes, scrapers, horsetail not sandpaper). Arching templates and contours, bending the plate in my hands by feel, checking thicknesses with a calliper. More or less what Sacconi describes in his book, or Johnson & Courtnall in the art of violin making. 

This also involves setting up in the white and making sound adjustments while playing. So mainly by feel. 

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1 hour ago, Anthony Panke said:

As a normal maker would today. This means using hand tools (gouges, planes, scrapers, horsetail not sandpaper). Arching templates and contours, bending the plate in my hands by feel, checking thicknesses with a calliper. More or less what Sacconi describes in his book, or Johnson & Courtnall in the art of violin making. 

This also involves setting up in the white and making sound adjustments while playing. So mainly by feel. 

That's pretty much what I do except I don't set up in the white.  I also tap listening for sustain.  I'm looking forward to seeing your progress.

-Jim

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