Anima di violino parte seconda - Adattamento
ฝัง
- เผยแพร่เมื่อ 24 มิ.ย. 2024
- ⬇️⬇️ (English translation of text and captions) ⬇️⬇️
00:00 - Violin Soundpost Part Two - Fitting
00:12 - Before making the bridge it is necessary to put in the soundpost, so as to be able to adapt the bridge feet taking into account the slight deformations that the necessary tension of the soundpost will cause to the curvature of the top arching. To have a reference for positioning, I trace the line of the bridge foot and the (mirrored) lines of the bassbar inside the top plate, so as not to have to trace the position of the bridge on the outside. The soundpost will be placed laterally 1 mm inside the bridge foot, i.e. in the position corresponding to the bassbar, and 2.5 mm away from the foot itself. The soundpost must be placed without any tension at 1 mm from the final lateral position so that once it has been brought into the final position the tension will be correct. It must be kept vertical, i.e. parallel to the ribs in all directions. The grain must be kept perpendicular to that of the top plate. The perfect fit of the contact surfaces is of fundamental importance both for the acoustic response and for preventing structural damage (soundpost crack). This is the placement that, based on my experience, I use as an initial standard for all my violins as soon as the construction is finished: it is only a starting point, a definitive fine-tuning may be necessary but will only be done when the set-up and the violin itself they will be well settled, and of course if the acoustic response of the violin were to require it. Of course, with different structural geometries (archings, thicknesses, f-holes and bassbar position, etc.) it may be necessary to make small changes to the measures indicated.
00:57 - Bridge foot - bassbar position (marked inside the top plate)
01:02 - Lines 1 mm apart
01:07 - Soundpost position without tension
01:16 - Soundpost position with tension
1:25 - 2.5 mm (distance from bridge foot)
01:32 - To obtain the raw length of the soundpost, add the maximum heights of the archings to that of the ribs and subtract the maximum thicknesses of the top and back
01:43 - Progressively shorten the soundpost by adapting the contact surfaces until reaching the final length which will be shorter by about 1.5 mm, variable according to the curve of the archings.
01:54 - With respect to the foot of the bridge the soundpost must be in the same position as the bassbar and must be kept vertical and parallel to the ribs in all directions
02:43 - Start by cutting the top plate side, setting a slope similar to the outer curve of the arching
03:23 - Cut it to a length corresponding to the sum of the archings and ribs, subtracting the thicknesses
04:06 - Cut the side of the back by setting an inclination similar to that of the arching, shortening the length by about 1 mm so that it can be easily inserted inside the soundbox.
04:36 - Moisten the surface to facilitate cutting
06:08 - Insert the tip of the soundpost setter near the top plate side, at about one third of the length
06:40 - Position the soundpost taking care of its verticality and trying to put it as close as possible to the final position, being very careful not to force it excessively
07:24 - Use a mirror to be able to see the hidden areas from direct vision, evaluating the position and the points of contact with the plates
08:32 - To extract the soundpost, let it roll against the lining of the C and use a stylet with a sharp point inserting it precisely into the cut of the soundpost setter
08:58 - The contact points to be modified will be highlighted by the shiny and bright areas caused by the compression of the wood, visible with correct orientation of the lamp light
14:31 - Evaluate to the touch that the lifting of the f-hole wing is never excessive. With the correct final tension it will still have to remain perceptible.
14:45 - When the soundpost has the correct tension it will always have to fall by applying a light but firm pressure to the Cs. With the necessary experience and sensitivity to the applied force it will be possible to make a fairly accurate evaluation of the actual tension
15:26 - Use a flat scraper sharpened at 90° and very sharp for the last finishes, until perfect contact of the surfaces with the plates is achieved
16:37 - Help yourself with a LED light for the final inspections, so that you can orient it in the various directions highlighting any slight imperfections of the contact points along the entire circumference
استاد بزرگ بسیار ممنون بابت تجربیاتتون❤❤❤❤❤❤❤❤❤❤❤
نهایت آموزش بود سپاس از لطف بیکران شما
Absolute Perfection🤩
Che forte vedere dentro il violino!! Le studi tutte per farci vedere tutto!!👏🏻👏🏻❤️🥇❤️😁
Grazie mille Maestro Davide per il video! Con grande rispetto.
Maestro! Tutti i suoi video sono eccezionali ma questo mi ha proprio emozionato. Grazie!
Interessantissima e chiara esposizione! Era ciò che mi mancava, importante punto di partenza per procedere nella conoscenza. Grazie, Davide!
An incredibly helpful video. Thanks so much for posting it. Much appreciated.
Grazie molte, oggi inizio la costruzione della mia prima anima!
Every time I watch one of your videos , it fills me with inner serenity. You are not only a great luthier ,you are also a great therapist .)
Thank you! 😊
Danke Dir Meister 😍Wie gerne hätte ich so einen Meister gehabt wie euch 😍habe nur Tischler gelernt 🤗aber sehe durch euch Geigen mit neuen Augen 😍Danke sehr Gruß Michel
Thank you, Davide! What a wonderful example!
Thanks Michael 🙏
Thanks for taking the time to film the mirror as well!! Fascinating to see. Fantastic work.
Unfortunately, I don't have an endoscope to take effective shots of the interior, so I tried to show something anyway😊
So many nice tips and tricks! Thanks for posting.
To be honest, i have never seen such a great violin builder, and his video's
Thank you for sharing a great information and you are a great master of violin making ! ⭐👍
Bravo,exelente 👏👏👏
Thank you for sharing your knowledge.
Davide sei meraviglioso!
Fantástico trabalho maestro, abraço daqui de Algarve Portugal.
Hello Maestro Sora, am I correct that the single bevel knives you are using for the sound post cutting are the “left handed” grinds?
Also, I am now working part time in a violin shop, doing restoration and set-up work, with the plan to be full time in a few months! I owe you a lot, if you search for my username in your notification history you’ll see how many of my questions you’ve answered over the past few years. I’m so incredibly thankful for all of your help. I’ll send you an email properly introducing myself sometime soon, and I’m hoping to make my way to Cremona some time in the next year or two.
Yes, it's a left-bevel knife.
Glad to know you found a job as a luthier! The good thing about part-time is that it leaves you time to work on your violins at home, something to consider, but a full-time job would undoubtedly be an interesting experience.
When you come to Cremona, you will be welcome in my workshop, it is always nice to meet in person in the real world.🙂
👍👍👍👏👏👏
Buona sera Maestro! If you don't mind me asking, can I ask this question? I was just wondering if there is someone else who films your video and edit it or it is just Maestro who take cares everything. The quality of videos is so nice!
I do everything by myself, the camera is on the tripod and I help myself with an external monitor to see what I'm framing. I also do the editing, it's the thing that I enjoy the most, even if it's the one that probably takes the most time. But I enjoy doing it, so who cares.😊
@@DavideSora Wow….That’s incredible.. thank you so much for your behind work🙏🏻
For many students under pandemic circumstance for the past couple of years, your videos were life savior..
We’ve been learning a lot from these and still..!
I really appreciate your work!
Thanks!!!
I have no words Davide, to say that your red varnish is sooooo beautifull, i wish i had that red varnish
Davide, i believe the receipe is mentioned somewhere, as far i remember?
You can find all the videos about varnish in this playlist: th-cam.com/video/rf4lL8kiOQI/w-d-xo.html But I haven't done those on how to color it yet, it's quite complicated because I also make the pigments myself and the coloring depends on many factors, not least the fact that I add the colors by eye and I don't have precise recipes on the quantity. it is an artistic rather than a technical approach, difficult to describe. But sooner or later I'll try😊
Sono già otto anni che accompagno i tuoi video, uno più bello delle altre, e questo della colorazione aspetto con ansia 😃😃😃Dio te benedica grandemente maestro
Your self made "schnitzers" are much sharper than the Martor scalpel you used for short cutting the sound post.
I'm still trying hard to reach a similar level of sharpness with my schnitzer.
Super sharp knives are definitely fundamental for this job, in fact if you notice I use two of them: one for the initial work, and another for the delicate finishing cuts, so that the sharpness doesn't get ruined by making more energetic cuts like the initial ones needed to shorten the soundpost. To cut the soundpost to the raw length is another matter, any thin blade even if not perfectly sharp can work. It would be a waste of time to use too sophisticated tools for this raw cut, those with ordinary spare blades are more than enough😊
You make that job look easy. It definitely is not!
Bona sera, Due domande, i coltelli sono del tipo kiridashi giapponese? e sono a doppio taglio o solo su un lato?
La prima lama che vedi a 2:08 è un coltello giapponese Kogatana, riconoscibile per i due strati di acciaio ben distinti. La seconda lama che vedi a 2:19 è un coltello di tipo occidentale ossia con acciaio non stratificato. E' fabbricato da John Schmidt con acciaio PM-X (un acciaio simile al PM-V11). Entrambi sono affilati a bisello singolo (single bevel), ossia come uno scalpello.
Love the video,just need some,tips , backround music,
Thanks.
Sorry, no background music, I prefer to leave the noises (or silences) of the workshop, and then there's always the copyright issue if you want to use beautiful and well-played music. If you like you can open another video in another tab at the same time with your favorite music, using it as background music while watching mine.🙂
As for the tips, I give several in the captions of the video, they are in Italian, but you can find the English translation on the description page. You can also infer a lot from the drawings and visual parts of the video.
Thanks,,I do appreciate your time and teaching.
Che legno si usa per fare l'anima? Mi pare che viene usato l'abete rosso della Val di Fiemme è esatto? Inoltre l'anima non va' incollata ma incastrata tra tavola armonica e fondo. Saluti dal FVG.
Per l'anima si usa l'abete rosso, che è lo stesso legno che si usa per la tavola e la catena. E' decisamente il più indicato perchè è molto rigido e leggero, e con una velocità di trasmissione del suono molto elevata. L'anima non va assolutamente incollata!! Deve essere adattata perfettamente (molto importante) in modo che rimanga "incastrata" tra tavola e fondo senza eccessiva pressione, così che il liutaio possa fare una messa a punto tramite piccoli spostamenti per trovare la posizione ideale, ottimizzando la risposta acustica dello strumento.
@@DavideSora Grazie mille per la dettagliata risposta.
How tight should the soundpost fit?
If you are talking about soundpost tension, I'm afraid this is a question that cannot be answered for at least a couple of reasons, and probably for many more. First of all, it is not a measurable thing, because the dimensional variations are so minimal that they cannot be detected with traditional measuring instruments with a sufficient degree of accuracy. It is mainly a matter of sensitivity developed with experience. Second, different violins may need more or less tension, depending on the acoustic response and the age and structural features and settling of the violin, including some cases where no tension would give the best results.
In the video I tried to give a couple of hints about tension, at 01:07 and at 14:45 but keep in mind that these guidelines are valid for a new violin just finished making, which will need to settle under string tension before a more accurate soundpost tuning would be made, as this is a normal condition for new violins. Furthermore, if the arching curves (transverse radius) change the same amount of displacement of the soundpost would result in a different amount of tension, which complicates things a lot to give indications without knowing the geometry of the violin. For these reasons you will always hear that for the soundpost it is advisable to rely on expert luthiers, because to be able to do the work it is necessary to have developed the right sensations with training, as well as a technical mastery to be able to do the work without cause damage to the instrument.
If you're just talking about the contact points fit, only a perfect fit can give the best results, as I say in the video