Am 34 yr old, ive just started 7 months ago as „violin maker” ive never played on violin before but i love the extremely deep knowledge which you have to understand to make a beautiful instrument. Thank you for your time to spend here and trying to explain it. Thank tou again am still here with you ! And learning
That's fantastic to hear! Starting this journey without prior experience as a player takes real passion and dedication-welcome to the world of violin making! 🎻 It's a craft that always has more to teach, no matter how long you've been at it. I'm so glad you're finding these videos helpful, and I'm here to keep sharing everything I can to support you along the way. Keep up the great work!
I've never made a violin. But my question is this concerning the bass bar: How do you know the bass bar is the right width, length and height? Are all bass bars exactly the same size for all 4/4 violins? Have you ever made the "perfect as can be" violin, glued it all together and find the bass bar is not up to par and you have to take the violin apart for fix it?
Thank you for your kind words! I’m glad you appreciate the honesty about the process. It’s all about sharing the true art and craftsmanship behind it! 😊🎻
Wonderful exposé of your craftsmanship. When I was in Cremona in '84 I visited a luthier and played his instrument. It was the highlight of my trip. My violin throughout my education and career was a 1972 Guarneri copy by Sergio Peresson. Both powerful and lovely sound, but only with Pirastro Olive strings w/gold stahl E. Lifespan of those strings is not very long. But the caressing tone, especially the G, I could hear all day, with no fatigue.
You are absolutely right. Tap tone seems insane to me because it changes the second the top is coupled to the body. Carving the top till it starts to react is the way to go.
27 วันที่ผ่านมา +2
I made a violin, and enjoyed it so much I made a viola too
I used to have the privilege to walk into the woodworking shop of a violin builder living across our house. He had a background in structural engineering and after retirement went to build violins as a hobby. He lent them to violinists, got feedback, investigated, reworked, put back together, lent them to someone else etc. I recall he always said it's best to be methodical, think the thicknesses and the shape of mostly the top through, but since the complete structure of the violin changes after being glued together, it is almost impossible to determine whether a violin is going to sound good or not by looking/listening at all parts separately. He truly had an amazing understanding of the instrument, did many experiments trying to reduce it down to it's most simple form resulting in wacky looking prototypes. One of his last violins was made completely out of scrap wood simply to prove materials really aren't that important, mostly the way how you approach carving the instrument. It's never an exact science, and like you mention, he often mentioned you have to approach every violin differently due to variation in the materials used. It was one of the most beautiful sounding violins I've ever heard, very warm and deep, almost like the human voice itself, it took really little energy to get incredible projection from the instrument. Sadly without very formal training, he was not taken seriously, but I got educated about the process over the span of 20 years and got quite some copies of his original blueprints. For now I mostly work on the electronics side of pedal steel guitars, an instrument about the polar opposite of a violin in every single philosophy. But I do plan, once I retire, to pick up where he left off and see if we can further improve the designs, just as a hobby :-).
Thank you so much! 🙏 I'm thrilled to hear it answered a lot of your questions-there really are endless details and variables to explore in this craft. Glad to have you here watching and learning along with me!
Thank you for making such a convincing case for the essential role of a human violin maker in making each instrument an unique creation which - before it is even played on by the violinist, is already infused with human emotions that influenced its specific personality.
It is my understanding that more than one person or shop tried using a CNC machine to achieve the precise thicknesses for the Top and Back plates. They all measured out OK, but the resulting instrument(s) was(were) not magnificent. The Master Violin maker has not yet been replaced. Perhaps a CNC machine could be used to do a "rough cut" in contouring the Top and Back Plates to save a little time for the Master Violin maker? Michelangelo said about sculpting that he removes what is not needed. If a CNC program could be written that to take away only the outer bulk, but not go too far into the wood to allow the Master Violin maker to CAREFULLY approach the optimal inner and outer contours for each individual piece?
CNC machines can also used wrong, they're just another tool requiring its skill. People don't realise that CNC applied to acoustic wooden instruments should only be used to reduce the hardest part of rough work, but you still need to manually finish and tune each piece. CNC can't make repeatable copies, because wood properties are subject to too many variables. Edgar mentioned roughing the thickness to about 5 mm before aiming for the final one. With CNC aid you should probably add at least 2 mm for safety, then manually continue from there.
It was interesting for me to find out that You make the top deck with a constant thickness. I thought that making a top deck of variable thickness is the most common practice today. However, not everyone...
Thank you so much for this particular video. It is like making Pizza, no matter how many of the same you make, they all taste a bit different, even when you use the same dough, the same sauce, the same cheese and the same toppings. Remember this: No snowflake is ever the same. No violin can be copied to sound exactly like the one you would love to reproduce, but it might sound better if you are lucky, or sound worse. Thank you for all your videos, Edgar!
Thank you for your insightful comment! You're absolutely right-just like pizza or snowflakes, each violin has its unique qualities, no matter how similar the approach may be. If you ever find yourself in Cremona, let's share a great pizza and talk instruments! 🍕🎻
Thanks for the invite, Edgar! I can see how making the best-sounding instrument can become an obsession very easily. I have to be honest, I never touched a violin in my whole life (now 61 years old). I am a toolmaker from way back. As a child, I needed to know how things are made, and how they function and what's inside, so I dismantled everything, even my father's pocketwatch to get the rubies out because they looked so nice. Later in life, I improved everything and anything. When I watch your videos I can see similarities between You and myself. I like when you experiment with things like a Titanium endpiece, to see what it does to the instrument. And I pictured a neck hollowed out from the nut towards the inside of the instrument, small at the side of the nut and wider towards the inside, shaped like a horn, of an old gramophone, going through the neck and the block of wood just where the neck is attached. Now go back to the video where you were standing inside that instrument, the video where you were explaining the soundpost and try to imagine if there would be some sound coming out of that horn, and if that would somehow improve the soul or sound or whatever it is that makes an instrument so unique. Ciao from New Zealand! Michael Albrecht Kemmerer (Mike)
Am 34 yr old, ive just started 7 months ago as „violin maker” ive never played on violin before but i love the extremely deep knowledge which you have to understand to make a beautiful instrument. Thank you for your time to spend here and trying to explain it. Thank tou again am still here with you ! And learning
That's fantastic to hear! Starting this journey without prior experience as a player takes real passion and dedication-welcome to the world of violin making! 🎻 It's a craft that always has more to teach, no matter how long you've been at it. I'm so glad you're finding these videos helpful, and I'm here to keep sharing everything I can to support you along the way. Keep up the great work!
This is me As well... So thankful for edgar
I've never made a violin. But my question is this concerning the bass bar: How do you know the bass bar is the right width, length and height? Are all bass bars exactly the same size for all 4/4 violins? Have you ever made the "perfect as can be" violin, glued it all together and find the bass bar is not up to par and you have to take the violin apart for fix it?
Thank you Edgar . I love the fact that you tell the truth about the process of violin making .
Thank you for your kind words! I’m glad you appreciate the honesty about the process. It’s all about sharing the true art and craftsmanship behind it! 😊🎻
Wonderful exposé of your craftsmanship. When I was in Cremona in '84 I visited a luthier and played his instrument. It was the highlight of my trip.
My violin throughout my education and career was a 1972 Guarneri copy by Sergio Peresson. Both powerful and lovely sound, but only with Pirastro Olive strings w/gold stahl E. Lifespan of those strings is not very long. But the caressing tone, especially the G, I could hear all day, with no fatigue.
You are absolutely right. Tap tone seems insane to me because it changes the second the top is coupled to the body. Carving the top till it starts to react is the way to go.
I made a violin, and enjoyed it so much I made a viola too
👍🏿👍🏿👍🏿
I used to have the privilege to walk into the woodworking shop of a violin builder living across our house. He had a background in structural engineering and after retirement went to build violins as a hobby. He lent them to violinists, got feedback, investigated, reworked, put back together, lent them to someone else etc. I recall he always said it's best to be methodical, think the thicknesses and the shape of mostly the top through, but since the complete structure of the violin changes after being glued together, it is almost impossible to determine whether a violin is going to sound good or not by looking/listening at all parts separately. He truly had an amazing understanding of the instrument, did many experiments trying to reduce it down to it's most simple form resulting in wacky looking prototypes. One of his last violins was made completely out of scrap wood simply to prove materials really aren't that important, mostly the way how you approach carving the instrument. It's never an exact science, and like you mention, he often mentioned you have to approach every violin differently due to variation in the materials used. It was one of the most beautiful sounding violins I've ever heard, very warm and deep, almost like the human voice itself, it took really little energy to get incredible projection from the instrument. Sadly without very formal training, he was not taken seriously, but I got educated about the process over the span of 20 years and got quite some copies of his original blueprints. For now I mostly work on the electronics side of pedal steel guitars, an instrument about the polar opposite of a violin in every single philosophy. But I do plan, once I retire, to pick up where he left off and see if we can further improve the designs, just as a hobby :-).
Edgar, absolutely brilliant. Answers do many questions because there are so many variables to deal with. Thanks
Thank you so much! 🙏 I'm thrilled to hear it answered a lot of your questions-there really are endless details and variables to explore in this craft. Glad to have you here watching and learning along with me!
Thank you for making such a convincing case for the essential role of a human violin maker in making each instrument an unique creation which - before it is even played on by the violinist, is already infused with human emotions that influenced its specific personality.
It is my understanding that more than one person or shop tried using a CNC machine to achieve the precise thicknesses for the Top and Back plates.
They all measured out OK, but the resulting instrument(s) was(were) not magnificent.
The Master Violin maker has not yet been replaced.
Perhaps a CNC machine could be used to do a "rough cut" in contouring the Top and Back Plates to save a little time for the Master Violin maker?
Michelangelo said about sculpting that he removes what is not needed.
If a CNC program could be written that to take away only the outer bulk, but not go too far into the wood to allow the Master Violin maker to CAREFULLY approach the optimal inner and outer contours for each individual piece?
CNC machines can also used wrong, they're just another tool requiring its skill.
People don't realise that CNC applied to acoustic wooden instruments should only be used to reduce the hardest part of rough work, but you still need to manually finish and tune each piece. CNC can't make repeatable copies, because wood properties are subject to too many variables.
Edgar mentioned roughing the thickness to about 5 mm before aiming for the final one. With CNC aid you should probably add at least 2 mm for safety, then manually continue from there.
It was interesting for me to find out that You make the top deck with a constant thickness. I thought that making a top deck of variable thickness is the most common practice today. However, not everyone...
Thank you so much for this particular video. It is like making Pizza, no matter how many of the same you make, they all taste a bit different, even when you use the same dough, the same sauce, the same cheese and the same toppings. Remember this: No snowflake is ever the same. No violin can be copied to sound exactly like the one you would love to reproduce, but it might sound better if you are lucky, or sound worse. Thank you for all your videos, Edgar!
Thank you for your insightful comment! You're absolutely right-just like pizza or snowflakes, each violin has its unique qualities, no matter how similar the approach may be. If you ever find yourself in Cremona, let's share a great pizza and talk instruments! 🍕🎻
Thanks for the invite, Edgar! I can see how making the best-sounding instrument can become an obsession very easily. I have to be honest, I never touched a violin in my whole life (now 61 years old). I am a toolmaker from way back. As a child, I needed to know how things are made, and how they function and what's inside, so I dismantled everything, even my father's pocketwatch to get the rubies out because they looked so nice. Later in life, I improved everything and anything. When I watch your videos I can see similarities between You and myself. I like when you experiment with things like a Titanium endpiece, to see what it does to the instrument. And I pictured a neck hollowed out from the nut towards the inside of the instrument, small at the side of the nut and wider towards the inside, shaped like a horn, of an old gramophone, going through the neck and the block of wood just where the neck is attached. Now go back to the video where you were standing inside that instrument, the video where you were explaining the soundpost and try to imagine if there would be some sound coming out of that horn, and if that would somehow improve the soul or sound or whatever it is that makes an instrument so unique.
Ciao from New Zealand!
Michael Albrecht Kemmerer (Mike)
Some interesting information. I was hoping you talk about the flexibility of the top around the f holes.
Does having several dot marks on the inside affect the sound?
👍👍👍