Beautiful craftsmanship, not just in the physicality but also the thought process as well. Very awesome approach and a great neck came from it! Thanks!
Hi Anton , very helpful video . Just out of interest, do you use the damping to raise grain before fine sanding on the back and belly as well ? Best wishes Ken
thank you for the video , I am a self taught fiddle maker and I am only on fiddle #12 each fiddle is a learning experience for me and your video on the shaping of the neck will be very help me very much, please make more videos your work is very impressive,
Dear Dave, check out my channel there are more video and more to come. Click on the subscribe button and you keep updated with new video. Great to be helpful!
Thanks for another very instructive video. I really like your style of filming and sharing all your thoughts during the process. You probably remember I would have loved to take courses at ILSA. These video's are "the next best thing" for me 😊. Have you ever contemplated "rolling" the scaper gently over the neck to bring the neck to "roundness". Keep up this wonderful work! 🙏
Very practical information presented. Thank you for your explanations and the visual clarity of this video. Hope to see more of your techniques in upcoming videos. They are inspiring to us who make violin making our hobby.
EXCELLENT CRAFTSMANSHIP! As a retired former professional violists, one thing I try to pass on to Luthiers is that most of the finest instruments I have ever played, are unusually lighter in weight and feel. I beg Luthiers to strive in making the front and back plates as thin as possible since they are what vibrates most. Most makers do not strive to make the plates super thin! Other places to remove wood is the inside area of the neck under the finger board; as if the inner neck has been routered like the pegbox. Us violists have one heck of a time holding the viola in such a position as to help our lower back muscles. LOL
Can I point out that light instruments often have arrived at their weight by the ageing process . Instruments that are made very light from day one can quickly wear out and lose their power . That is a great shame . I would like to hear other opinions on this subject .
The instruments you have to avoid the most is which too thin or light. It will be beautiful for a first several years, and then, a disaters will came out. Because of their thinness and lightness, it can't maintain its archings and structure. There are a ton of pressure and tension which came from string and players, thin wood plates cannot holding a structure of it. It is a very traditional and conventional method to makers when they cheat their silly/naive customers. Because they will encounter with the most beautiful sound they've ever met in their life, but not so long, it wil demolished because of its undeniable weakness. I hope you didn't buy that instrument.
No no, however, I have played instruments that had thin fronts and backs that were made in the late 1500s and 1600s. They are still around! I am talking about new instruments made recently that are so heavy with thick plates! @@Dindy_lover
Excellent video.
Thanks for the video and please make some more if you can.
Anton, What a good, informative and beautiful video. You know and love what you do. Thank You for sharing with us.
Thank you for sharing
Beautiful craftsmanship, not just in the physicality but also the thought process as well. Very awesome approach and a great neck came from it! Thanks!
Hi Anton , very helpful video . Just out of interest, do you use the damping to raise grain before fine sanding on the back and belly as well ?
Best wishes Ken
thank you for the video , I am a self taught fiddle maker and I am only on fiddle #12 each fiddle is a learning experience for me and your video on the shaping of the neck will be very help me very much, please make more videos your work is very impressive,
Dear Dave, check out my channel there are more video and more to come.
Click on the subscribe button and you keep updated with new video.
Great to be helpful!
Very instructive video. Also very different but good work. Thank you.
Please make videos on the complete process of making a violin. I would really like to see that!
Thanks for the very detailed videos. They’re helping me work on a similar project. Are you going to post more?
Thanks for another very instructive video. I really like your style of filming and sharing all your thoughts during the process. You probably remember I would have loved to take courses at ILSA. These video's are "the next best thing" for me 😊. Have you ever contemplated "rolling" the scaper gently over the neck to bring the neck to "roundness".
Keep up this wonderful work! 🙏
Very practical information presented. Thank you for your explanations and the visual clarity of this video. Hope to see more of your techniques in upcoming videos. They are inspiring to us who make violin making our hobby.
EXCELLENT CRAFTSMANSHIP! As a retired former professional violists, one thing I try to pass on to Luthiers is that most of the finest instruments I have ever played, are unusually lighter in weight and feel. I beg Luthiers to strive in making the front and back plates as thin as possible since they are what vibrates most. Most makers do not strive to make the plates super thin! Other places to remove wood is the inside area of the neck under the finger board; as if the inner neck has been routered like the pegbox. Us violists have one heck of a time holding the viola in such a position as to help our lower back muscles. LOL
Can I point out that light instruments often have arrived at their weight by the ageing process .
Instruments that are made very light from day one can quickly wear out and lose their power .
That is a great shame . I would like to hear other opinions on this subject .
The instruments you have to avoid the most is which too thin or light. It will be beautiful for a first several years, and then, a disaters will came out.
Because of their thinness and lightness, it can't maintain its archings and structure. There are a ton of pressure and tension which came from string and players, thin wood plates cannot holding a structure of it.
It is a very traditional and conventional method to makers when they cheat their silly/naive customers. Because they will encounter with the most beautiful sound they've ever met in their life, but not so long, it wil demolished because of its undeniable weakness.
I hope you didn't buy that instrument.
No no, however, I have played instruments that had thin fronts and backs that were made in the late 1500s and 1600s. They are still around! I am talking about new instruments made recently that are so heavy with thick plates! @@Dindy_lover
These ancient instruments , how do you know how thick the plates are . Furthermore how can you know how heavy they were when they were made ?