Violin Making 2

7/27/2019 Violin Making 2

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Violin

a ,

t s . omas



Introduction

n w at o ows, w e ocument ng t e course o t e construct on o a v o n at t e enc ere n my

wor s op on ape reton s an n ova cot a. atura y, t w re ect my own persona approac to t s cra

-- ma e ma e no c a ms to stor ca accuracy, sc ent c or tec no og ca ns g t, eep art stry or v rtuos c

cra tsmans p. ave no tra var an secrets to revea an no gurantees as to t e success o t e outcome. ter

u ng nstruments or a v ng or over years, st n t at earn w t every one, an am st um e

y t e mystery o t e art an secret vo ces o t ese creat ons. ut e to t n t at ave earne somet ngover t e years, an t at my guesses ave now at east ecome more n orme an e ucate t an w en egan

-- experience must count for something.....

o w t t s sc a mer n m n , nv te you nto my wor s op or a g mpse o one person s nterpreta-

t on o t e art o v o n ma ng an ope t at n s ar ng t w t you, you w n somet ng n t t at you may

n use u , n ormat ve, or nterest ng.

e es gn

e es gn or t s v o n w not e ase on any part cu ar stor ca nstrument, ut t e mens ons

an proport ons w e we w t n t e range o t ose oun n t e var ous mo e s o tra var , uarner , ant e ot er great c ass ca ma ers o t e “ o en ge o v o n ma ng t at our s e n remona, ta y n t e

t an ear y t centur es. t was t ere t at t e v o n evo ve nto ts mo ern orm, an w t t e nota e

except on o t e setup o t e nec , an a correspon ng a terat on to t e r ge an ass ar , t as rema ne

much the same to the present day. There has been much interest and speculation concerning the significance of

t e geometr c proport ons to t e ear y eve opement o t e v o n s es gn, an t s pro a e t at at east some

ma ers o t e t me were concerne w t es gn ng w t n a un y ng sc eme o geometr c re at ons ps. or a

r e scuss on o t s tra t on, see t e essay on my we s te:

ttp: www. etree.com on_t e_pyt agorean_tra t . tm

El diseño para este violín no se basa en ningún instrumento histórico particular, pero las dimensiones y

proporc iones estará bien dentro del rango de las que se encuentran en los distintos modelos de Stradivari ,

Guarneri , y los o tros grandes fabricantes clásicos de la "Edad de Oro " de la luthería que floreció en Cremona ,

Italia, en los s iglos 17 y principios del 18o . Fue allí donde el violín se conv irtió en su forma moderna, y con la

notable excepción de la con figuración del cuello, (y una alteración correspondiente al puente y bar bajo), se ha

mantenido la misma hasta la actualidad . Ha habido mucho interés y la especulación sobre el signifi cado de las

proporc iones geométricas de principios Desarrollos del diseño del viol ín, y es probable que al menos algunos

fabricantes de la época estaban preocupados con el diseño de un p lan de unificación de las relaciones

geométricas. Para una breve discusión de esta tradición , ver el ensayo en mi si tio web :

http://www.fi ddletree.com / on_the_pythagorean_traditi.htm

introducción

En lo que sigue , voy a estar documentando el transcurso de la construcción de un violín en el banco aquí en mi taller en Cape Breton

Island, en Nueva Escocia. Naturalmente , reflejará mi propio enfoque personal a este oficio - Hago hacer ninguna reclamación a la

exactitud histórica , conocimiento científico o tecnológico , el arte o la artesanía profunda virtuoso . No tengo secretos Stradivarian

para revelar ni gurantees sobre el éxito de los resultados .

Después de la construcción de instrumentos para ganarse la vida durante más de 25 años, me sigue pareciendo que aprendo con cada

uno, y todavía me siento muy honrado por el misterio de la técnica y el secreto voces de estas creaciones . Pero me gusta pensar que he

aprendido algo en los últimos años , y que mis conjeturas tienen ahora al menos, a mantenerse informados y educados que cuando

empecé

- Experiencia debe servir para algo .....

Así que con esta renuncia en mente, te invito a mi taller para tener una idea de la interpretación del arte de la luthería de una persona y

espero que al compartir con usted , usted encontrará algo en él que usted puede encontrar útil , informativo , o interesante.



e oo

t e ayout o t e es gn represents t e rat ona , conceptua , an ntent ona aspect o v o nma ng, t en t e mater a -- t e woo tse -- presents us w t t e rrat ona , un nown, an “g ven

s e o t. very tree s un que, an even w t n a g ven spec es, t ere can e arge var at ons n

ppearance, ens ty an st ness, an tona qua t es -- an t ese are t e re ect on o ts e n t e

forest, its ancestry, climatic cycles, and the soil from which it grew. A large part of the art of violin

ma ng s t e exp orat on o t e mater a s use -- an w t exper ence one opes to ga n some n-

s g t nto t e ever myster ous qua t es o t e woo n re at on to ones es gns, met o s o wor ng,

n tona o ect ves.

e ore t e evo opement o t e mo ern sc ence o acoust cs a century or so ater, t may

ave een t at some ear y ma ers e eve t at a armony o s mp e proport ons n t e outer orm

o t e v o n m g t e con uc ve to t e armony o ts nner vo ce. ut t oug t s s mp e re at on-

s p may not e orn out y our present now e ge o acoust ca p ys cs, t may e mean ng u n

ot er ways. e v o n s more t an ust a vo ce -- t s a w o e wor o art, an ts v sua an tact e

qua t es as we as t e story an eas em o e n t are not w t out s gn cance.

Based on the simple elements of the line and circle, the violin’s proportions are generatedw t n a system o s mp e re at ons ps to prov e a v sua y un e an armon ous orm. e ow s

es gn wor e out severa years ago, an s t e one t at w use or t s v o n.

Antes de que el Desarrollos de la moderna ciencia de la acústica de un siglo o dos más tarde, puede

ser que algunos fabricantes de primeros creían que una armonía de proporciones simples en la forma

externa del vio lín podría ser propic io para la armonía de su voz interior. Pero a pesar de esta simple

relación no puede nacer por nuestros conocimientos de física acústica, puede ser signifi cativa en otras

formas. El violín es algo más que una voz - es toda una obra de arte, y sus cualidades visuales y

táctiles, así como la histo ria y las ideas contenidas en él no están exentos de signifi cación.Con base en los elementos simples de la línea y el círculo, las proporciones del vio lín se generan

dentro de un sistema de relaciones simples para proporcionar una visual uni fi cado y la forma

armoniosa. A continuación se muestra un diseño que funcionó hace varios años, y es el que voy a

utili zar para este violín

Si la disposición del diseño representa el aspecto racional, conceptual, e intencional de la fabricación de violines, acontinuación, el material - la propia madera - nos presenta con el lado "dado" irracional, desconocida, y de ella. Cada árbol

es único, e incluso dentro de una misma especie, no puede haber grandes variaciones en el aspecto, la densidad y la rigidez,

y las cualidades tonales - y estos son la refl exión de su vida en la selva, su ascendencia, los ciclos climáticos, y la tierra de

la que creció. Una gran parte del arte de la fabricación de violines es la exploración de los materiales utilizados - y con la

experiencia que uno espera poder hacerse una idea de las siempre misteriosas cualidades de la madera en relación con

queridos diseños, métodos de trabajo, y objetivos tonales.



erta n y t e c o ce o woo s an mportant ec s on n t e p ann ng o t e nstrument. t s

not a ways as s mp e as ec ng etween “goo an “ a woo , ut a su t er c o ce o w at n

o soun t e ma er s oo ng or. t oug some compensat on can e ma e or erent n s o

woo to try to atta n a certa n qua ty o vo ce, a etter approac s to c oose an appropr ate woo ,

et to now t, an try to max m ze ts natura c aracter st cs or examp e, a p ece o ar sugar

map e may ten towar a c ear, r g t soun , ut ten ng towar r tt e w en exaggerate ...... a

soft red maple may tend toward a more woody and darker sound, but if one is not careful, may tend

towar mus y w en ta en to t e extreme.

or t s v o n, ave c osen a p ece o re map e rom a og t at got rom a oca sawm

out years ago. t s eaut u y gure , a r y g t an so t, an as proven tse n a num er o

nstruments over t e years. ere s a p cture o t e woo w en rst roug t t ome an cut t up n

t e yar n ront o my wor s op.

e spruce soun oar s pro a y t e

most mportant p ece o woo or t e tona qua -

t es o t e n s e nstrument . am oo ng or

somet ng strong an r g t, w t a t o a cr sp

snap to t e tone. n so or t e e y w c oose

n ce p ece o ermo e pruce -- a y r o

ng emann an s t a spruce rom r t s o um-

bia -- light and stiff wood that is perfect for for a

strong yet respons ve tone. t as stra g t even

ra n an was cut rom a et t at was w e

noug or a num er o one p ece v o n tops.

Sin duda, la elección de la madera es una decisión importante en la planificación del instrumento. no siempre es tan simple

como decidir entre "buenos" y "malos" de madera, sino una opción más sutil de lo que tipo de sonido que el fabricante está

buscando. Aunque algún tipo de compensación puede hacerse de diferentes tipos de madera para tratar de alcanzar una

cierta calidad de voz, un enfoque mejor es elegir una madera adecuada, conocer, y tratar de aprovechar al máximo sus

características naturales Por ejemplo, un pedazo de disco azúcar de arce puede tender hacia un sonido claro y brillante,

pero tendiendo hacia quebradizo cuando exagerado ...... un blando arce rojo puede tender hacia una mayor madera y

sonido más oscuro, pero si uno no tiene cuidado, puede tender hacia esponjoso cuando se lleva al extremo.



reparat on

ere ve gat ere toget er

t e mo , temp ates an mater a s

n preparat on to start t e wor .

ave se ecte a n ce y gure onep ece ac as we as a one p ece

top. e mo an out ne temp ate

re adapted from the drawing pre-

ous y ustrate .

o an oc s

o eg n, g t we g t spruce oc s or t e corners an en s are roug e out an temporar y

ue to t e mo . xcept or t e areas w ere t e oc s w e g ue , t e mo s ru e w t wax toeep excess g ue rom st c ng to t.



The Ribs

e r s are roug

sawn on t e an saw rom t e

same mater a as t e ac , t en

scrape to a na t c ness o

mm. s scraper s re-grounrom a ar ware store ut ty

n e a e.

e r out ne s trace

on to t e sur ace o t e oc s

o ow ng t e temp ate.

en, t e t e curves o t e nner

outs are carve nto t e corner ac s

an t e r s are ent to s ape on a ot

en ng ron. try to en t e t n r sry, ut w somet mes use a tt e mo s-

ture to e p w t t e t g t curves o t e

s. or now, t e outs es o t e corner

oc s are e t u or support w e t e

s are g ue nto p ace.



e en s o t e r are cut square

and clamped in place with a simple cault at s mu taneous y presses t e r en s

onto t e oc s an o s t e r t g t

aga nst t e mo . roug out t e construc-

t on o t e v o n, on y goo qua ty ot

e g ue s use .

Linings

t t s po nt, w g ue t e n ng to t e r s n or er to protect t e rag e woo . use w ow

ere-- t en s eas y, an carves e ort ess y nto s ape.... ut any g t woo w wor . e n ng

s mm t c an mm n e g t. e mo as een t c nesse to mm, so w en t e n ngs areseate own to t e sur ace o t e mo , w ave roug r e g t o mm. e en s o t e n ngs

or t e s are tuc e n e n t e oc s y ma ng tr angu ar n e cuts nto t e e ges o t e oc s,

n correspon ng y tte n ng en s.



e n ng s g ue n p ace.

hese little c-clamps are great, but

ot es p ns w wor , too. en

amp ng, w san w c t e r

etween t e n ng an a sma ent

scrap of thin wood on the outside,

s not on y protects t e r rom

ootpr nts rom t e c amp, ut e ps

o even out any rregu ar t es n t e

urve o t e r rom en ng t e

g y gure cur y gra ne woo .

ow cont nue en ng t e ot er r s. e rest o t e oc s are s ape

n t e po nts o t e corners are eat ere to a n e e ge w ere t e upper an ower

r s w e o ne . ere, ave se ecte a one p ece ower r , to comp ement t e

ne p ece ac an top.



e rest o t e r s are g ue an c ampe n p ace w t some s ape

cau s to eeps t e r en s t g t aga nst t e oc s.

e rema n ng n ngs are t en g ue n p ace, t e en s o t e corners

are tr mme , t e sur aces are eve e , an t e r assem y s comp ete.



repar ng t e ac p ate

With the rib assembly com-

p ete , ts s t me to turn our atten-

t on to t e ac . rst, one sur ace s

p ane at an to a roug t c ness

o a out mm t s w e owere

to aroun n t e course o carv ngt e arc .

rc ng t e ac

o ar, t e construct on o t e r assem y as een a a r y rout ne operat on. t t e carv ng

o t e arc e p ate, we are approac ng t e eart o t e v o nma er s art. ere are many approac es

to t s -- var ous sc oo s o t oug t an erent t eor es, an my own pract ce cont nues to c ange

t roug t e years. t out a ou t, t e s ape o t e arc p ays a s gn cant ro e n s ap ng t e tone o

t e nstrument. e ear est v o ns ten e to ave a a r y g arc ng pro e -- t e c ass c remonese

o ns o tra var an uarner eature a ower an more stream ne pro e. on t necessar y t n

o t ese c anges as progress ve mprovements, ut more as a re ect on o c ang ng mus ca taste an

tona o ect ves. o ustrate t at s ape ma es a s gn cant contr ut on to v rat ona e av or, t n oa musical saw -- it retains all the same properties of size, material, density -- but by changing the shape

o ts curve, a uge var ety o tones can e roug t out. s mp e an u c rcu ar arc r s ng rom t e

pur ng to t e centre ne s qu te st an o ers a ot o res stance to e ormat on -- an arc r s ng n

a ow -s ape curve as a ot o u t- n spr ng an ex ty. or a v o nma er, t s not a matter o

max m z ng one or anot er qua ty, ut o see ng a a ance t at s n accor w t t e n o soun one

s see ng. e nee a certa n amount o strengt an res stance to g ve t e tone a so core t at you can

“ g nto w t t e ow, ut at t e same t me we nee a certa n amount o comp ance, sens t v ty, an a

g t, qu c response. uc o t e c a enge o v o nma ng s to try to reconc e suc oppos ng qua -

t es, not y supress ng one or t e ot er, ut y r ng ng a armony etween t em.

en, t e out ne s trace rome r assem y us ng a sma was er to

prov e an even over ang o a out mm.

e ac s t en cut out w t t e an saw

n c eane up a t. e na z ng o t e

utline and overhang will wait until just

e ore t e pur ng c anne s cut.



start carv ng y

esta s ng a at e ge aroun

t e per meter o t e p ate. s

will make the purfling easier,

an w en t e carv ng s na -

ze , t w e gent y o owe

out to en n w t t e ma n

arc o t e p ate. eave t s at

a w t o mm n t e upper

an ower outs w ere t e arc

w e rat er ow an scoope ,

ut narrow ng to a out a t at

t roug t e wa st w ere t e

curve o t e arc w e g er

an u er.

e e ge s n s e to mm t c n t e upper an ower outs, s g t y more n t e wa st, an

swe ng gent y out to t e t ps o t e corners. en procee to to orm ng t e ong arc rom t e neco ta . e s ape o t s arc as somet mes een escr e mat emat ca y as a catenary -- t e s ape

a en y a c a n ree y suspen e rom two eve po nts. ere s a a r t a var at on to e oun n

he archings of various classical violins, and there is no need to idealise the description of these forms

unnecessar y -- t oug or t e mat emat ca y nc ne , t can e an nterest ng stu y. en oo at

e arc ng, am more ntereste n try ng to come to a more ntu t ve un erstan ng o course ase

n years o exper ence w ere was more ntereste n copy ng outer mo e s . try to mag ne myse

nto t e mater a -- get a sense o t e stat c oa s requ re , t e pressure o t e soun post, t e tw st ng o

e o y w t t e pu o t e str ngs. am a m ng or a s mp e, e c ent, an rest u strengt w ere a

parts s are t e oa equa y, ut yet w e sens t ve to t e su t est o v rat ons. e sense o u gment

n t ese t ngs eve ops w t exper ence -- or east t e con ence t at a ows t e ree om to wor ns manner.

rc ng gu es or temp ates

a e rom ex st ng nstruments or

at emat ca y generate can e

e p, ut n t at t e est too

or t s ong ac arc s a ex e

ru er t at can e use as a sp ne

-- w en ent to t e sur ace t was y s ow up any rregu ar t es an

prov e a smoot , a r, an e c ent

urve. t , t e en s o t e arc

s ou e u c ous y recurve to

ow or greater ree om an ex-

ty.



Keeping all this in mind,

e arc ng p anes are use to n s

rc ng -- a ways c ec ng or sym-

etry, smoot an e c ent curves,n t e proport on ng o concav ty

n convex ty n a manner t at

ope w r ng out a goo a ance

strengt an respons veness.

ese are a va ua e ways o oo ng at t e s ape o v o n s arc ng -- ut aga n, t s pro a y

est not to re y too muc on ea ze concept ons; v o ns are remar a y var e an eac s un que. eres no s ng e trut or outwar ormu a t at w guarantee a “per ect v o n. t mate y, t n t at t e s ow

rysta zat on o one s now e ge an exper ence nto a persona v s on an sense o u gment s w at can

evate t e cra t o v o nma ng to an art. ere was on y one tra var , ut t ere s ou a so e a p ace

n t s wor or eac o us.

ter t e ong arc as een n s e to my sat s act on, turn now to t e transverse arc ng, w c

so ar as een e t roug an u . e tra t ona arc ng gu es or “qu nte are as set o temp ates t at

re p ace across t e p ate -- at t e w est parts o t e upper an ower outs, t e narrowest part o t e wa st

n n t e o ows o t e trans t on rom t e outs nto t e corners. ny num er o t ese are ava a e rom

oo s, raw ngs, p ans, or ex st ng nstruments. ga n or t e mat emat ca y m n e , t ere s an nterest ng

onstruct on or t ese curves t at as een gett ng attent on n recent years: t e “curtate cyc o , w c s a

at emat ca curve t at s rawn y trac ng a po nt w t n a c rc e as t at c rc e ro s a ong a stra g t ne.

t e c rcum erence o t e c rc e s t e engt o t e es re arc , an t e stance o t e po nt rom t e centre

s half the height of the desired arch, then the curves traced are a remarkably close fit to those seen in manyass c v o ns t at s, as ong as t e proper a ustments are ma e to t e en recurves, an a t o a ow-

nce s ma e or norma screpanc es an stort ons .



ese tt e guys v s te

my wor s op aga n ast n g t.

t n t at t s t e r a es t at are

respons e or eat ng t e o es

t roug t e outer ayers o t e n ce

spruce ogs a stas e n t earn -- now now to ma e sure

t at a t e ar s remove ey

are cute, t oug .....

e ac s scrape to a c ean sur ace o smoot , e c ent curves. eep n m n t at t e

na scoop ng o t e per meter t at w comp ete t e arc ng w wa t unt near t e en -- or now,

e outer e ges stay at at aroun mm. e to o t e na scrap ng o t e arc es at n g t, wor ng

ith a single strong light, using the shadows to throw into relief any irregularities in the curves of

e sur ace. trong rect sun g t w wor or t s, too.



ra uat ng t e ac

e t c ness ng o t e p ates s anot er ma or cons erat on or t e tone o t e nstrument, an

s ou e one w t n t e context o t e qua ty o t e woo , t e c aracter o t e arc ng, an t e overa

tona o ect ves. oo t c , an t e p ates w not e a e to respon qu c y an e c ent y -- t e tone

w e ar , r g t, an con ne . ut too t n an t e v o n w ecome o ow, oomy, uneven an

wo y as we as en anger t e ongev ty o t e nstrument . e construct on n genera s ou e strong

ut g t, aga n a anc ng t e nee or ot ex ty an st ness -- a strong so tone t at s ree, g t

and responsive. Violin makers tend to obsess over the graduations of the plates -- probably because it iseas er to quant y t an t e escr pt on o t e comp ex t es o t e arc ng. tan ar p ans o t e c ass c

nstruments g ve measurements, ut mens ona measurement s ust one way o oo ng at t. e same

measurements w ave erent we g ts or ens t es n erent p eces o woo . ap tones are anot er

tool that many makers rely on to adjust the thicknesses, since the frequency of the tones is a function of

t e ens ty an st ness. ut t ere s no s mp e ru e or any o t s -- t ey are a va ua e ways o gett ng

to now your mater a s an es gns, ut t s t e u gement o t e v o nma er t at a ances one actor

aga nst anot er an tr es to r ng a proper armony nto t e comp ex t es t at ma e up t e v o n. ea

o ns can e qu te var e n a o t s, an t e num ers ten to e ust averages.

e rst step s to roug out

the wood on the inside of the plate.s ng a r press w t a ept stop,

t e p ate s peppere w t o es -- n

t e centra area etween t e nner

outs, start w t a out mm an

4mm in the upper and lower “lungs”.

en, qu c y c op out t e excess

w t a gouge unt come c ose to t e

ottoms o t e o es. e ear y c ass -

cal makers would not have had a drill

press, ut a gra uat on mar er cons st-

ng o a rame w t a ever equ ppe

w t a mar ng aw t at cou e

a uste or erent t c nesses.

e gouge s o owe y t e

rc ng p anes. ter t e n t a p an-

ng I will recheck the thicknesses with

e ca per an r a new set o gu e

o es, t s t me com ng a tt e t c oser

o my expecte n s e t c ness. goo

verage measurement for this would be

roun . mm n t e centre, an a out .

n t e upper an ower areas, a t t c er

roun t e e ges p an to eave some

xtra t c ness aroun t e e ges or a na

uts e gra uat on a ter t e nstrument s

ssem e .



I go back and forth a number of times between the marking holes and the planes, slowly ap-

proac ng t e na gra uat ons. s t n t e p ates w pay more attent on to not on y t e measure-

ments, ut a so t e we g t an t e tap tone y o ng t e upper out a tt e ways n rom t e e ge an

tapp ng n t e centre, t e strong y resonant “mo e tone can e so ate . e genera ea s to ower

t e we g t a goo na we g t or t e n s e ac m g t e aroun grams ut eep t e tone up

around an F is usually good) while keeping close to the usual thicknesses. Normally, none of these fac-

tors w e too ar o , ut every p ece o woo s a tt e erent an t s goo to e aware o a t ese

spects -- a anc ng one aga nst anot er, an a m ng or strengt , yet ex ty an response. one o t emeasurements are to e ta en as t e na wor on any o t s -- many amous v o ns are oun to vary

quite a bit from the “standard’ measurements -- but these are the tools and materials that the violin maker

as to wor w t n ma ng t e ec s ons a ong t e way t at w eterm ne t e c aracter an vo ce o t e

n s e nstrument.

n s w t t e scrapers to

smoot out t e p ane mar s, us ng

my ngers to oo or any rregu-

ar t es n t e gra uat ons, eep ng

t e curves an gra uat ons smoot

an cont nuous. ecause e tona ze t e gra uat ons o t e p ates

a terwar s, rom t e outs e, w

plan ahead and leave things just a bit

eav er t an expect t em to n-

s . at er t an n s eac part as

o, pre er to wor t e nstrument

as a w o e as muc as poss e, an

o t e na z ng on y a ter ave

roug t a t e parts toget er.

ow t s t me to ta e

t e r s o t e mo . s arp

crac w t t e c se an t e

corner oc s are sp t ree.

e en oc s are separaterom t e mo an t e w o e

r assem y can e stretc e

to allow the linings to clear the

mo or remova .

emov ng t e o



e ns es o t e r assem y s c eane up: excess g ue s scrape o , t e ns es o t e

oc s are s ape , an t e n ngs are tr mme to a tr angu ar pro e. e a m s to g ten t up,

remov ng w atever mater a s unnessesary to t e structure. e n s e r assem y s ou we g

o more than 50 grams.

e r s are t en a gne an c ampe to t e ac . ue s wor e n one sect on at a t me,

xcess is cleaned up, and then the entire assembly is set aside to dry.



e ore start ng t e pur ng on t e ac , t e out ne s na ze -- even out t e over ang ng e ge,

ent y roun ng t e un ers e, an ma ng sure a t e curves ow smoot y, an w t no rregu ar t es.

pay spec a attent on to t e s ap ng o t e corners -- muc o t e scu ptura c aracter o t e carv ng s

n t e corners an e ges, an t s w eterm ne ow t e pur ng n s es out to t s c aracter st c “ ee-

st ng . on t re y too muc ere on measurements or temp ates. o t at arm s engt , an use my eye

to te me a t e corners oo e t ey e ong toget er -- are t ey t e same s ze o t ey po nt outwar

t t e same ang e o t e curves ow outwar to t e t p n expectat on o open ng out

nce t e out ne s

n s e , mar t e pur ng

ines with a two bladed

ur ng mar er, e ng

are u to eep t stea y,

pr g t, an snug aga nst

e e ge o t e p ate. e

nes are mar e , t en exca-ate w t a s arp n e an

se ma e rom a enta

c . any ma ers w

dapt a small router to cut

e pur ng c anne -- t s

ot as p easant or peace u

ut can e ma e to wor

e . rat er put on some

ce mus c an orget a out

me.

e c anne or t e

ecorat ve “ not s care u y

rawn out an nc se ree an

w t t e n e an c se .

ur ng



e pur ng

strips themselves are

san w c e toget er

rom map e veneer an

e ony s av ngs. rst

ta e some s av ngs roma stra g t gra ne p ece

o e ony, us ng a very

s arp p ane.

The curls are

stra g tene y pass ng

t em qu c y over t e en -

ng ron. e t c er w te

str ps are s ce rom a s eet

o map e veneer.

ey are t en g ue up n ac -

w te- ac str ps t at s ce n a an

c ean up w t t e p ane. ere use a

regu ar mo ern ca net ma ers g ue....

n t at t a ows t e n s e str ps

to en eas er on t e ot ron w e st

o ng toget er.



e pur ng

strips are bent to shape

n t e ron. start w tt e upper an ower

outs, taper ng t e t ps

nto a ne “ ee-st ng

po nt, t en cut t e

wa st str ps to a n ce

m tere t.

e pur ng s scrape us w t t e sur ace an t s t me to turn our attent on to t e

top. nce w e us ng t s n ce one p ece top, t ere s no nee or t e usua centre o n. w

prepare t as t e ac , p an ng t e sur ace at, trac ng t e out ne, an saw ng t out on t e

bandsaw.

e e y



e top -- or e y -- s per aps t e s ng e most s gn cant actor n eterm n ng t e soun

of the instrument (though we should be careful not to overemphasize any single element, and

eep t e w o e n m n . oo g t we g t ut st spruce, per ect y quartere or max mum

strengt an e c ency s est or o ng up un er t e ong term stat c oa rom t e str ngs ear-

ng own t roug t e r ge, w e at t e same t me a ow ng an easy, g t, an sens t ve response

to t e v rat ons.

e carv ng or t e e y starts out muc as or t e ac -- a qu c roug ng out w t t e

ouges an p ane, an t e esta s ment o a at e ge aroun t e outs e o t e p ate. en t e

ong arc , gu e y a temp ate at rst, ut t en na ze y t e eye, an an u gment.

e s ape o t e top w er rom t e ac ow ng to ts erent unct on. v ous y,

t s s a more comp ex structure. t s t e top t at rst an most mme ate y respon s to t e

nergy rom t e v rat ng str ng as passe t roug t e r ge. e mportant centra area o t e

e y -- un er t e r ge -- s ree rom t e constra nt o t e s es o t e o y y t e - o es,nd the upper eyes of the f’s cut off and isolate all but a narrow “beam”, the width of the bridge,

roug w c runs t e cont nuous gra n o t e top rom t e ta oc to t e nec . ereas t e

ac s e ng stretc e as t e resu t o t e pu o t e str ngs t us pus ng upwar on t e soun

ost t e top s u er compress on -- squeeze rom en to en w e pus ng own un er t e

eet o t e r ge. e post prov es support un er t e tre e oot o t e r ge w e transm t-

ng t e oa an t e v rat ona energy rect y to t e ac , w e t e ar un er t e ass oot o

e r ge g ves support to t e top an e ps transm t t e v rat on t roug t e e y.



e ong arc o t e top w e seen to ta e a certa n atness t roug t e centra area, w e

falling a little more steeply at the ends. The steeper slope at the ends gives a bit more flexibility here

you ave on y to see t e e ect o t s on some very steep y s ope ta ner cop es t at ten to e

wea an an ecome storte ere . or t e cross arc ngs, w pay spec a attent on to t e narrow

part o t e wa st -- eep ng a u strong arc t ere to e p support t e area at t e en s o t e - o es,

w ere t e cross arc ng resumes ts uty o support ng t e ong cont nuous centra arc . s startwor ng t e cross arc ng, w a so e gu e y t e way t e - o es e. w raw t em n p ace to

c ec t e r or entat on as s ape t e arc ng, an t s w eterm ne muc o t e way t e curves w

ow rom t e outs t roug t e wa st. oo ng at t rom t e s e, want to see t at t e ma n s a t o

t e - o e es para e to t e ne o t e r s an t at t es a out a way up t e s ope. e upper eye

of the f-hole will approach the top of the arch, while the lower eye will be dipping down just below

t e ower corner. t ona y, w c ec or convex ty w t a stra g t-e ge.... want to eep a n ce

cont nuous ome t roug out t e centra area o t e top. s run a ru er across t e top, para e to t e

- o e, on t want to see any concav ty unt t approac es t e s a t o t e o e. s necessar y

means t at t e narrow o t e wa st w ave a roa u arc , w e t e upper an ower outs are

ecom ng ow an scoope .

s approac t e na s ape, aga n use t e s a ows to oo or rregur t es an to c ec or

e egance an symmetry o t e curves



n s t e top arc ng to my sat s act on; ut as n carv ng t e ac , w eave t e e ges at an

thick for now -- the final shaping will wait until the whole instrument comes together.

ow turn t e e y over an start to carve out t e ns e. e proce ure s s m ar to t at o t e

ac -- ut aga n, t e top as a erent unct on, an t e gra uat ons w e erent t an or t e ac .

rst, a qu c roug ng out w t t e gouges an p anes......

e top s n s e o to a more un orm t c ness t an t e ac . e t e ac stays a r y

mass ve t roug t e centre to prov e su stance an support un er t e post, t e top s t nner, more

e a v rat ng ap ragm, an es gne or max mum sens t v ty. t w e n s e o to aroun .

mm -- ut as t e n s e mens ons are approac e w aga n c ec or we g t, tap tone, st ness

nd feel. Light weight, around 75 grams for now (I expect it to lose about another 10 g after the final

scoop ng, e gewor , nec an sa e s ots, an n s scrap ng an a tone aroun are expecte .

ut a t ese num ers are negot a e -- epen ng on t e c aracter o t e woo , t e e g t an s apeo t e arc ng, t e mo e , even t e weat er an w o nows -- may e t e p ase o t e moon . t s

t e u gment o t e n v ua v o n ma er -- t e e ucate guesswor -- an t e part cu ar un er-

stan ng o t e n o tone t at e or s e s oo ng or, t at s w at t rea y comes own to, an t at

nev ta y ma es every v o n a persona express on an a un que n v ua .



e - o es an ass ar

e - o es are now a out or t e ast t me an cut out. s t ey are e neat ng t e mportant

central vibrating area of the top, I will pay close attention to how they are formed -- the spacing between

t e eyes, t e stance etween t e s a ts at t e r ge ne t e engt o t e o es an p acement o t e

o es can a p ay a ro e n n uenc ng t e nstruments response. t g ter area etween t e o es can

ma e or a qu c er response, w ereas a roa er span can r ng more area nto v rat on rect y rom

t e r ge.

e eyes are rst cut t roug w t a r or a sma gouge, t en s ape w t roun es to t e r

proper s ze an s ape. en a ne s cut w t a ne ewe ers saw a e t roug t e centre o t e out ne.

s arp n e t en n s es y par ng away t e mater a to t e ne.

t en roun o t e ns e e ges o t e o es an prepare t e ass ar rom a p ece o goo

stra g t gra ne an quarter sawn spruce. s one s cut rom t e e tover o t e et or t e top.

e ar passes rect y un er

t e ass oot o t e r ge, an at a

slight angle to the grain of the top.

accon g ves t s ang e as o ow ngne t at connects two po nts mea-

sure at one sevent o t e stance

rom t e centre ne to t e w est

parts o t e upper an ower outs.

not er way to oo at t s s t at t e

ng e o t e ass ar m m cs t e ne

t e str ng.



e ar s care u y t -- cut an try ac an ort unt t na y ma es u cont nuous

contact w t t e curv ng nner sur ace o t e e y. ome ma ers e to “spr ng t e ar s g t y

so t at t ere s a t o upwar tens on un er t e oot o t e r ge. s s one y tt ng t e ar

so t at e t er en s ra se a coup e o m metres rom t e sur ace, ut w en presse nto p ace or

u ng, t ere are no gaps or wo es n t e t.

e ar s t en cut to s ze. t w e a out mm n e g t un er t e r ge an s ape to e -

c ent y str ute t e oa t roug t e eng t o t e top. you measure ts e g t at erent po nts

ong t e engt o t e ar, you w see t at ts e g t actua y ncreases n a stra g t ne rom t e

en s to t e r ge ne -- t s s ape s ust a tere to o ow t e contours o t e top. w c ec to see

t at t e tap tone o t e top, w c owere con era y w t t e cutt ng o t e s, s now ac w ere

t was.



o n s o t e top, w t en g ue n a sma veneer o woo to protect t e so t spruce

rom t e pressure o t e soun post. t s tra t ona to eave a s g t y t c er spot ere -- pre er to

n s t e centra area o t e e y to a un orm t nness, an a t s s p o ar map e nstea .

e ent re ns e s c eane up or one ast t me, t en g ue n my a e an t e o y

s c ose . w use a very t n g ue ere -- want to ma e t eas er or a uture repa r person

o open t up. ny e t at angs aroun or ong enoug w eventua y nee t e top to

ome o or one reason or anot er.



s w t t e ac , t e e ge over-

ang s evene out, t e corners are

twea e nto s ape, an a t e curves areone over to smoot an comp ete t e

ut ne to rea y t or pur ng. e so t

spruce s muc eas er to cut, ut t e gra n

likes to pull the knife, especially in the ar-

as w ere t c anges rect on at t e w -

st m ts o t e outs. s arp n e an

ent e pressure s nee e . n one must

e care u not to c p t e e cate corners

ns e t e pur ng ne.

e ec

t t e pur ng comp ete , t s t me to turn our attent on to t e nec . w e us ng more o t e

same woo as n t e ac an r s. ecause t s p ece as an o s ape t s a tapere we ge t at wasn t

g enoug or a ac , w prepare t e oc y temporar y g u ng some scraps to t e s es t at wow me to square up t e oc so w en cut t on t e an saw, t e e ges w a e perpen cu ar to t e

nger oar sur ace.



While the neck blank is still

square, mar out t e centre ne

n r t e p ot o es or t e pegs.

e turns o t e scro

re mar e out, t en a ew n t a

saw cuts helps the removal of the

aste.

e gouges an scrap-

rs n s t e wor o carv ng t e

scro . e nes o t e tra t ona

scroll make for a classic blend of

s mp c ty an comp ex ty. eye s gu e aroun t e grace-

u turns, ta ng n t e symmetry,

roport on an e cacy, w e t e

n s recte to contemp at on

t e n n te conta ne w t n

orm.



e nec s t en o ne to t e o y o t e e. n e n tra var s ay w en t e nec

was glued and nailed flat on to the ribs, the modern neck is set into a tapered mortise. Special care

must e ta en to t t s we , to prov e strong support an to prevent sett ng o t e nec un er t e

tens on o t e str ngs. t must s mu taneous y t t e ace o t e mort se an t e utton o t e ac

w c prov es muc o t e strengt an sta ty o t e nec w e eep ng ts a gnment own t e

centre o t e o y etween t e - o es an a ow ng or a nger oar pro ect on o aroun mm

t the bridge. I set it up with a “dummy” fingerboard to make the measurements and alignment easi-

er. want a nec overstan o mm a ove t e e ge o t e top, an a resu t ng str ng ang e over t e

r ge o egrees. t s t e s arpness o t s ang e t at eterm nes t e ownwar orce t roug

t e r ge an to t e e y.

t an arc ng an

o e o a r y stan ar -

ens ons, a t ese parameters

s ou a nto p ace toget er

-- w t t e a t ona correspon-

ence t at a ne s g te own

he edge of he back will point toe eye o t e scro an a ne

s g te own t e e ge o t e

op w po nt to t e en o t e

nger oar at t e nut.

t t e nec an ee st a r y

rough, it is glued into the mortise with

res ot g ue, ta ng care to eep every-

t ng a gne proper y. na s ap ng w

ta e p ace once t e str ngs are on.



The Fingerboard

e nger oar an

is roughed out from a piece of

stra g t gra ne e ony.

e an s cut out

s g t y overs ze, t en t e top

sur ace s s ape to a con ca

a us o a out mm w t t e

e p o a stra g te ge an curve

emp ate.

e un ers e s t en

p ane to eave an even e ge o

mm or t e engt o t e oar .

e over ang ng en s o owe

out to remove we g t, yet eavest ness an support or t e en

o t e oar . t s nterest ng to

note t at t e en o t e nec s t e

m po nt o t e oar , an a ter

o ow ng, can a so ecome t e

a ance po nt.



e nger oar s g ue n p ace

ter g v ng a na c ec o t e pro ec-

ion height. The nut is put in place, and

en t e ent re nec an nger oar un t

s tr mme an s ape to com orta e

mens ons, so t at t e pro e ro s n ce y

n t e ngers an t e t um stop at t e ee

ee s com orta e an am ar. e nutn o t e nger oar s ou e a gne

square w t t e c n o t e scro an t e

stop engt rom t e r ge ne to t e up-

er end of the body) should be in a rela-

ons p o w t t e rema n ng stance

rom t e e ge o t e o y to t e nut.

ter tt ng a sa e an an o set o pegs, a t at s nee e e ore a tr a run s a r ge an

soun post. e roug r ge an must rst e wor e over a ts e ges an sur aces. e eet are

r mme an t to t e arc o t e nstrument, t en t e curve o t e top. e r ge s s g t y t nne an

he front surface (facing the fingerboard) is gently domed up toward the narrow top edge. The kidneys

n eart opene up a t, t e ower arc s ncrease , an t e s es are tr mme an c am ere . a -

rs eve op a persona s gnature n t e way t ey carve a r ge, ut t e ma n ea as e rom prov ng

proper p ay ng act on s to g ten up t e r ge, remov ng excess mass t at m g t ten to mute t s

esponse. ear y a t e energy o t e v rat ng str ng must rst pass t roug t e r ge, so t s wort

t o attent on. t must e su stant a enoug not to warp un er t e pressure o t e str ngs, an t acts

s a ter to t e ncom ng v rat on. oo g t an t n, an you m g t n t e tone gett ng a t raw an

r tt e, ut too eavy a r ge can ma e t soun st an represse .

e post s ma e o spruce cut rom

t e waste rom t e e y. t s care u y t an

we ge n p ace ust e n t e tre e oot o

t e r ge. t not on y prov es support or t e

r ge aga nst t e ownwar pressure o t e

str ngs, ut t a so serves to commun cate t e

rat on rom t e r ge rect y t roug to t e

ac p ate. n t s ro e t a so unct ons as a p vot

for the bridge’s vibration, setting up a kind of

pump ng act on to t e ot er oot, s tuate over

t e ass ar. e exact ocat on o t e post -- upc ose to t e r ge or a tt e urt er ac , a t

towar t e tre e or ass s e, a tt e t g ter or

ooser t -- can ave a s gn cant e ect n t e

response o t e nstrument y a ter ng t e a -

nce o t ese actors. ese are a ustments t at

w ater e ma e a ter t e str ngs are on t e

instrument and it has had a chance to settle.



n now t e e s rea y or a tr a run. put some str ngs on t, an pass t e ow over

t em. t as a surpr s ng g, u soun an a str ng t at s so an strong. t s a t e gy, as t

asn t any t me to sett e yet, an ust a t t g t w c s to e expecte w t t e e ges o t e p ates

st as t c as t ey are. ut rom a rst mpress on, t n t as great potent a . t s r g t an u

-- ots o snap, ut r c an eep as we .

p ay a ew gs an

ree s, a ac m nuet, a wa tz or

wo. veryt ng s sett ng an

stretching -- it won’t hold its

une or ong. wa t unt t

sett es own e ore procee ng

t t e ne tun ng an n s -

ng up, ut can p ay t an

start to get to now t.

na z ng

ter a ew ays o sett ng, t e v o n as come nto ts rst equ r um. t w now stay n tune

nd some of the original wolfiness has gone out of the tone. The fiddle is getting used to itself. Now is the

t me to cont nue on to t e na gra uat ons an to scu pt t e n s ng touc es e ore varn s ng. nt

now t e or g na e ges ave een e t at an t c . e pur ng was tr mme ac us to t e sur ace

ut w t none o t e grace u scoop ng t at w now n s t e arc ng.

e tone o t e nstrument

s arge y set n t e mater a s, t e

mo e , an t e arc ng -- t ese

na gra uat ons w not s gn -

cant y c ange t e as c qua ty o

ts vo ce, ut as t e p ates ecome

thinner and more flexible, the tone

not cea y ecomes reer an more

respons ve. on t want to ose t e

sense o so ty, espec a y un ert e str ng, w c o ten seems to

appen t e p ates are too com-

p ant.

s carve away at t e e ges, a ternat ng etween t e gouge an t e ow, ee as t oug were

erat ng t e vo ce t at s t ere, ut yet try ng to eep t w t n t e sc p ne o t e overa c aracter o

the instrument. The plates do not vibrate in isolation, but only as subordinate partners to the complexity

o t e w o e.



o t s na carv ng not on y w t ears open to t e c anges n tone, ut a so w t t e eye o

a sculptor, finalizing and blending the curves of the arching, the shape of the corners, and the flow of

e gewor . ow w return to t e scro to g ve a na smoot ng to t e sur aces an to cut t e c am-

ere e ges to t e turns o t e scro . g ve t e map e a t o ne san ng, ut must e care u not to

mus t e cr sp nes o t e scro an e g ng. e top w get on y t e scraper, ecause want to try to

eave a t o t e texture o t e gra n n t e n s e sur ace. ere are some p otos o t e w te e, as

t stan s rea y or varn s ng.....



arn s ng

e v o n s now comp ete n t e w te, an rea y to start t e n s ng process. ere are pro a y as

many ways to go a out varn s ng a v o n as t ere are v o n ma ers, an t e varn s s certa n y a s gnature

o t e n v ua ma er. se om o two varn s o s a e -- am constant y exper ment ng w t new met -

o s an mater a s, an t at must e ept n m n t roug t e escr pt on t at o ows. or a s g t y er-

ent procedure you can read read the account on my website “.... On Varnishing a Violin” ( www.fiddletree.

com on_varn s . tm

o start, t s mportant to pay attent on to t e sur ace preparat on n t e g t o w at one es res or

the finished look. In this case I am going to treat the spruce of the belly somewhat differently from the maple

o t e rest o t e nstrument. t s a very erent n o mater a ot v sua y an ow t ta es t e varn s ,

so t s goo to eep t at n m n as one procee s. e map e as a ot o v sua nterest n t e ame or gure

o t e gra n w c can e accentuate to a vantage y exp o t ng t e erent ang es o en an s e gra n

t at resu t rom t e or entat on o t e gra n n cur ng waves. n t e ot er an , t e ma n v sua nterest o

t e top s n t e nes o t e gra n tse , w c w e t e eature want to emp as ze t ere. w go or a

smoot er an more po s e oo on t e map e, w e try ng to r ng out t e us on o ept w t t e s t-

ng gure gra n, ut want to eave t e top w t a t more sur ace texture to g ve tt e more c aracter to t e

ra n nes o t e e y.

e rst step w e to g t y scrape an san t e map e to remove any ast rregu ar t es t at m g t

ntere ere w t t e na ru ng an po s ng. e top w get on y t e scraper, as t e scraper w eave a

more nterest ng texture w ere t e ree nes are cut a t ower t an t e rest o t e sur ace t oes t s y

s g t y compress ng t e so ter surroun ng woo as t cuts t roug t e st er ree s . en, w pe t e nstru-

ment own w t a amp c ot , to ra se t e gra n e ore go ng over t aga n to smoot o t e sur ace -- t s

w a so r ng out any rregu ar t es m g t ave m sse . o t s tw ce to e sure t at won t ave t e pro -

em o ra s ng t e gra n ur ng t e next proce ure. t t s t me a so go over t e spruce w t some very ne

san paper to ust are y eve t e sur ace w e st eav ng t e ree nes un ercut.

The next step is a light pre-staining of the wood.

ost o t e co or n t e n s w up n t e varn s ayer,

ut e to put ust a tt e go en ye ow sta n n t e

woo tse -- t means can use ess co or n t e upper

ayers, an t w a so serve to emp as ze t e gure o

t e map e. g ve t rst a g t was w t strong co ee to

ve t a g t tan co or. want to e care u not to et t e

spruce soa up t e sta n uneven y as a resu t o way t e

ra n or entat on s ts n re at on to t e c ang ng s opes

of the arching, so I first wet the spruce and let it partially

ry e ore app y ng t e sta n. s way, en gra n w

e a rea y saturate an won t ten to a sor t e sta n

sproport onate y. ter t e co ee, g ve t an a t ona

was o a ye ow ye ma e rom soa ng ma er root n

co o . s espec a y seems to ave a n ce e ect on t e

map e y putt ng a warm an ve y g ow eep own n

t e ames.



ow t s mportant to sea t e woo so t at t e r c y co ore varn s won t urt er sta n

the wood. I make a mix of thickened linseed oil (raw oil that was slowly cooked in a pot over a

propane torc unt t a a t c oney e cons stency ne pow ere m ca, an a t o turpen-

t ne to t n t. ru t s we nto t e woo w t a rus , a p ece o s c ot , an w t my ngers.

e pow ere m ca you can a so use pum ce or a var ety ot er ne m nera part c es pac s nto

the pores and surface of the wood helping to seal it -- at the same time it gives a harder and more

protect ve n s to t e sur ace as we as prov ng a goo groun or t e su sequent ayers o

arn s . coat o ros n o n s es t e sea ng, ut g ve one more coat o ros n o to t e spruce as

t s very a sor ent o t e rst coat -- want to see t at t e w o e sur ace starts to ta e on a t o a

s een n cat ng t at t as stoppe a sor ng t e sea er.

t t s po nt, e to

ang t out n t e sun to ry -- as

w t t e varn s , t e rays o

t e sun e p to promote t e po-

ymer zat on o t e o -- t e n -

ng toget er o t e mo ecu es nto

tough and durable film. Up-

sta rs ave a ca net equ ppe

w t g ts, an t s s great

or t mes w en t e weat er s a

or t e es , ut not ng eatsoo strong sun g t w en t s

va a e.

When the ground coat is dry, I give it all a good buffing, rubbing it all over to make sure

ere s a smoot sur ace or t e co or coats to o ow.



tra t ona o varn s s

made from a natural resin combined

w t a ry ng o , suc as nsee or

wa nut o . rees pro uce res n n

response to an n ury n or er to sea

an protect t e woo rom n ect on

-- ence t s an ea su stance or us

to use to sea an protect t e woo o

our v o ns. e a t on o a ry ng

o g ves t more toug ness an ura-

bility -- to help keep it from becom-

ng too ar , r tt e an c ppy. e

ar varn s or t e co or coats on

t s e s ma e rom o om an

am er an nsee ax o . s

out mer can am er s a re at ve y

young am er, at ng ac to ext nctorests rom etween one an two

m on years ago.

o ren er t s oss res n so u e or ma -

ng varn s , t must rst e me te , or “ use at

g eat to rea t e mo ecu ar on s t at eep t

locked up in an inert and insoluble state. I cook it

outs e t g ves o p enty o nox ous smo e n a

sta n ess stee pot over a propane torc .... an am

a ways prepare or re. e g eat w ar en

the resin considerably, but that is part of what I am

oo ng or. coo t unt t s t oroug y me te ,

an t en to ar en t more, cont nue to re uce t

t unt t oo s e an o y tar n t e ow -- ut

sprea out t n on t e s e o t e pot, t w e

evident that it is really a beautiful rich red-brown.

et t e res n coo own, t en re eat t

w t t e a t on o an equa part o nsee o ,cooking it gently until they are dissolved together.

ter t coo s a t aga n, w a turpent ne to

t n t an g ve t a goo rus ng cons stency, an

to ma e t eas er to ter. ter t w e t s st

ot an t n -- t w t c en up qu te a t as t

cools. But I don’t want to make it too thin -- I can

a ways a a t more turpent ne w en m rea y

to app y t to t e e.



nce t e nstrument s t oroug y sea e aga nst urt er sta n ng y t e co ore varn s , t

ecomes t e canvas upon w c can pa nt to ac eve t e c aracter st c appearance t at am oo ng

or. e ar am er varn s a one can g ve a very n ce r c n s , ut n or er to ave a tt e more

c o ce an contro o t e co or, an to ac eve t n a t nner varn s m, art sts p gments may e

dded in very small quantities to alter its character. I give it just a touch of additional red...... and to

r c en an ar en t -- to g ve t a t o mystery an ept -- a nt o ue. ne or two extreme y

t n p gmente coats are app e , c ec ng an a ter ng t e co or, an per aps a ng a rop o o or

turpent ne to t e varn s to e p w t t e rus ng.

t s mportant at t s stage not to try to ac eve t e na resu t a at once, ut to eep n m n

ow t e su sequent coats w c ange, ar en, an enr c t e co or. t s mportant not to et t get too

ar so t at t e c ar ty o t e eaut u y gure woo s o scure -- t e p gments s ou e use on y

to nudge the color very slightly. It is also important to look at the work in all different kinds of light --

rect an n rect sun g t, as we as un er ncan escant an ourescent u s -- as t e co or w varyramat ca y un er erent g t ng con t ons. ese n t a p gmente coats are t en o owe y a

coup e o coats o ust t e ar varn s unt get a n ce r c ut me ow co or ng to t e nstrument.

roug out t s stage

of the finishing, I like to shade

t e co or on w t g g ts an

s a ows -- not to “ant que t e

nstrument, ut to g ve a tt e

more v sua nterest. e r c yco ore varn s s eaut u , ut

a so want to et t e eauty o t e

woo gra n s ow t roug un n-

ere .



The belly has been sealed

ga nst a sor ng t e co ore

arn s , ut t e gra n texture e t

n t e sur ace a ows t e varn s toco ect a ong t e ree nes, emp a-

s z ng t s c aracter o t e woo .

ma e an e ort to app y on y a very

t n ut strong y co ore coat o

arn s to t e top to ma nta n t e

surface texture but also so as not to

ampen ts acoust ca response. -

ter rus ng t e varn s on qu c y,

ru t nto t e gra n us ng my

ngers an t e s e o my an .

ere w use a varn s ma e

rom ew ea an aur res n coo e

n nsee o . s s a t so ter t an

t e am er res n, an oes not requ re

t e same g temperature to me t t.

t w sso ve nto t e ot nsee ow t out t e pre m nary us ng t at was

necessary to me t t e am er, an so t

will make a much lighter colored var-

n s or my top coat. w use a g er

proport on o o n t s varn s , o serv-

ng t e pa nter s ru e o “ at over ean .

ter t e p gmente coats, app y severa coats o t e unp gmente ar am er varn s to t e

areas w ere want t e n s to appear r c an ar . e g g te areas at t s po nt are st are ut

or t e sea er coat. g ve t p enty o t me to ry -- many pro ems w t varn s ng can e avo e y

eav ng a equate ry ng t me etween coats. at ence s a must. a ter ave ac eve t e ept o co or

I want, I give it just a very light rubbing with fine sandpaper just to knock off any little dust nibs that

ave accumu ate , an t en am rea y or t e n s ng top coats. e na coats w e a g t an c ear

arn s t at w serve to protect t e co or coats ave u t up, an w g ve a tt e more o y to t et n n s so t at can g ve t a na smoot ng an ru own w t out rea ng t roug t e un er y ng

co ore ayer.



While the varnish is

ry ng, t s t me to t n a out

ma ng t e tt ngs or t s v o n.

or t e tr a run, t was ust set

up w t an o set o pegs anta p ece, ut a n ce nstrument

s ou e n s e o w t w t a

persona set o tt ngs to su t t. n

t s case, w ma e a matc e

set (pegs, chinrest, tailpiece) of

raz an rosewoo .

e peg an s are se ecte rom

some goo stra g t gra ne rosewoo .

emporary aces are g ue onto t e

blanks to make for easier turning with

ess c atter on t e at e. e pegs arerst turne , t en t e temporary ers

re remove an t e aces s ape or a

om orta e ee an gr p or t e t um .



e ta p ece s ma e

rom t e same raz an rose-

wood, but I’ll use a piece with

a t more gure n t or v sua

nterest.

w persona ze t a t w t a

sma carv ng o a coup e o map e eaves.

e n s e ta p ece.



e c nrest s carve rom t e same woo as t e ta p ece.

After a light buff-

ng w t wax, t e tt ngs

re n s e an rea y or

t e v o n. e p ps on t e

n s o e pegs an t e ret

t t e ea ng e ge o t e

ta p ece are ma e rom a

p ece o osage orange t at

oun n my scrap p e.

evera coats o c ear

arn s ave een app e to

t e v o n, an amp e t me s

a owe or ry ng. t s now

ru e own w t ne pum ce

and olive oil to smooth overany rus mar s an ust

n s, an to noc own t e

g g oss o t e raw varn s

to a so ter g ow. e top s

ust ru e g t y w t t e

pum ce an o us ng a so t

toot rus to eave as muc o

t e sur ace texture as can.



n now comes t e moment t at a t s as een ea ng up to. e new pegs are tte an t e

sa e g ue n p ace..... ta p ece an c nrest.... a ew m nor a ustments -- an a set o str ngs. e ow

s rawn......

e tone s r g t an cr sp t an s no ou t n arge part to t e g t st spruce o t e e y yet

u , r c an power u . t as a qu c easy response, s ng ng g notes an gutsy ower en . ut e a

new orn, t w e a tt e s a y on ts eet unt everyt ng sett es n to t s new equ r um. rom ereon,

t s ou ust get etter -- t w mature, me ow, an open up as t e varn s cures, t e woo ages, an t e

structure adapts to the new forces and stresses that it is subject to. But it’s a pleasure even now only a fewours o . trong, me ow, t ng, an sweet -- e a s p o goo s ng e ma t w s ey, w t w c t n

w ce e rate.....

Here are a few pictures of he finished instrument:







Documents

Violin Making 2