Just to clarify some things on the f-hole... Very early viol type instruments had round sound holes on either side of the bridge. These later became semicircles, and later just outlines, and then the stylised C-hole shape, usually turned slightly to accommodate the narrower waist of a bowed instrument.. You can see this on still existing versions of the viola de gamba. As violins developed in the 17th century, the narrower instruments did not have room for the C-hole, so the top of the c was flipped around to form an F shape and similarly angled away from the narrow waist. Since this shape moved the sound hole further away from the binding it was also fed back into the design of the viola de gamba so that many examples can also be found with f holes, and it became almost universal for violas and violins. Stradivarius didn't invent the f-hole but he did help the design of violins in specific ways. The shape of the f-hole probably had more to do with the tools and techniques the makers had available, so for example straighter cuts lent themselves more to knife cutting, and speed and simplicity were favored over other concerns. For example Stradivarius cut square wings, but all other Italian makers (some of them just as sought after by the best players) of the time were making rounded wings. Likely they were using more drilling type tools rather than cutting tools. Stradivarius' main discovery was that a longer f-hole helped with projection. He did produce a long pattern violin for a time but reverted to the older pattern probably because the long body made it more difficult to play. Making longer f-holes was a compromise between projection and making an instrument which would support the tension of the strings, even for the baroque tuning which was in use at the time (A = 415 Hz). The other thing that was known was that the smaller body violin tended to over project on the E string (the highest notes) and that this could be controlled by leaving more thickness on the wings. That is, less material was scraped off the inside of the sound board to leave the wings a little thicker. I surmise that this is acting like a high frequency damper. So, what bits of the f-hole are pointing which direction has more to do with what tools the maker had, the stylized embellishments he chose, how a long f-hole could be made to fit on a narrow waisted instrument, and how best he could quickly make the f-hole as long as possible. These violins (17th and 18th century) are actually quite rough in this area, and one way of spotting a fake is to look for the presence of roughness and tool marks on the inside of the sound board. They never in their wildest dreams expected their instruments to last hundreds of years, and most of them would not have without being repaired and rebuilt at least every fifty years or so. I do suspect that A=442 orchestra tuning takes it's toll on these instruments too, though I know that modern luthiers replace bracing and reglue bindings fairly regularly on these instruments. By "fairly regularly" I mean that doing it at all is fairly major surgery for an instrument that sells for so much. I've heard of 20 mil, for the Antonio Strad but that has hardly been played since Antonio Stradivarius decided it was the one violin he would never sell (must have been a beauty). Bridge/saddle terminology is a bit confusing. The bridge is the ebony piece that is glued onto a sound board, and the saddle is the bone piece that it supports and which the strings "ride" on. A violin only has a one piece wooden bridge, and the design and shape of that is whole 'nuther rabbit "hole".
@@PuckettCigarBoxGuitar ...and I think that this the first comment I've ever had pinned, even though I do try, especially when people ask questions. 😆 TH-cam usually only wants the TLDR version, but us makers are mostly a different breed I find. :-) edit: actually I think I've had other comments pinned, but the subject matter is usually so esoteric it's not of great interest to most people.
3 notches... Natchos!!! The Strad f holes... look at a Strad violin (or any violin), the bridges are placed in the mid point of the f holes, the mid point of the violin belly... the straight cuts of the f holes don't point to where the bridge is placed. (You could cut hearts at the mid point in the f holes...then they'd be f-heart holes! 🤣 I can never resist that cheap joke!)
As stated above, it is the little notches in the middle of the f-holes that point to the bridge placement. It might also be said that extensions of both of the lines of the wings at the top of the f-holes will intersect at the location of the bridge.
Do you always laminate a fretboard on top of the neck? Can you just cut frets into the neck? I ask cause I have a beautiful piece of cherry that I don't want to cover.
I'm trying to get one done for a birthday present at 3. Just started this morning lol. Next time i might leave myself a bit more time. Why do i do this to myself ?
Just to clarify some things on the f-hole... Very early viol type instruments had round sound holes on either side of the bridge. These later became semicircles, and later just outlines, and then the stylised C-hole shape, usually turned slightly to accommodate the narrower waist of a bowed instrument.. You can see this on still existing versions of the viola de gamba. As violins developed in the 17th century, the narrower instruments did not have room for the C-hole, so the top of the c was flipped around to form an F shape and similarly angled away from the narrow waist. Since this shape moved the sound hole further away from the binding it was also fed back into the design of the viola de gamba so that many examples can also be found with f holes, and it became almost universal for violas and violins. Stradivarius didn't invent the f-hole but he did help the design of violins in specific ways.
The shape of the f-hole probably had more to do with the tools and techniques the makers had available, so for example straighter cuts lent themselves more to knife cutting, and speed and simplicity were favored over other concerns. For example Stradivarius cut square wings, but all other Italian makers (some of them just as sought after by the best players) of the time were making rounded wings. Likely they were using more drilling type tools rather than cutting tools. Stradivarius' main discovery was that a longer f-hole helped with projection. He did produce a long pattern violin for a time but reverted to the older pattern probably because the long body made it more difficult to play. Making longer f-holes was a compromise between projection and making an instrument which would support the tension of the strings, even for the baroque tuning which was in use at the time (A = 415 Hz).
The other thing that was known was that the smaller body violin tended to over project on the E string (the highest notes) and that this could be controlled by leaving more thickness on the wings. That is, less material was scraped off the inside of the sound board to leave the wings a little thicker. I surmise that this is acting like a high frequency damper.
So, what bits of the f-hole are pointing which direction has more to do with what tools the maker had, the stylized embellishments he chose, how a long f-hole could be made to fit on a narrow waisted instrument, and how best he could quickly make the f-hole as long as possible. These violins (17th and 18th century) are actually quite rough in this area, and one way of spotting a fake is to look for the presence of roughness and tool marks on the inside of the sound board. They never in their wildest dreams expected their instruments to last hundreds of years, and most of them would not have without being repaired and rebuilt at least every fifty years or so. I do suspect that A=442 orchestra tuning takes it's toll on these instruments too, though I know that modern luthiers replace bracing and reglue bindings fairly regularly on these instruments. By "fairly regularly" I mean that doing it at all is fairly major surgery for an instrument that sells for so much. I've heard of 20 mil, for the Antonio Strad but that has hardly been played since Antonio Stradivarius decided it was the one violin he would never sell (must have been a beauty).
Bridge/saddle terminology is a bit confusing. The bridge is the ebony piece that is glued onto a sound board, and the saddle is the bone piece that it supports and which the strings "ride" on.
A violin only has a one piece wooden bridge, and the design and shape of that is whole 'nuther rabbit "hole".
this is the best comment i’ve ever gotten!!! thank you !!! 😊 great information!!
@@PuckettCigarBoxGuitar ...and I think that this the first comment I've ever had pinned, even though I do try, especially when people ask questions. 😆
TH-cam usually only wants the TLDR version, but us makers are mostly a different breed I find. :-)
edit: actually I think I've had other comments pinned, but the subject matter is usually so esoteric it's not of great interest to most people.
Saludos Master !!
Siempre esperando sus vídeos, muchas gracias.
I love the CBG slide
Nice , i hope we get to see the wring up off this cloSE ,,,NICE
😎😎
Doing the same mismatched tuners for a school fundraiser. Gave them the same idea when I presented the idea.
3 notches... Natchos!!!
The Strad f holes... look at a Strad violin (or any violin), the bridges are placed in the mid point of the f holes, the mid point of the violin belly... the straight cuts of the f holes don't point to where the bridge is placed. (You could cut hearts at the mid point in the f holes...then they'd be f-heart holes! 🤣 I can never resist that cheap joke!)
As stated above, it is the little notches in the middle of the f-holes that point to the bridge placement. It might also be said that extensions of both of the lines of the wings at the top of the f-holes will intersect at the location of the bridge.
Do you always laminate a fretboard on top of the neck? Can you just cut frets into the neck? I ask cause I have a beautiful piece of cherry that I don't want to cover.
absolutely!!!
@@PuckettCigarBoxGuitarthanks
I'm trying to get one done for a birthday present at 3. Just started this morning lol. Next time i might leave myself a bit more time. Why do i do this to myself ?
Don't do today what you can put off to tomorrow...
preach it brother
DEI built, very timely appropriate, wink wink.
i’m not very PC …