Violin edgework : finalizing the edge outline from start to finish
ฝัง
- เผยแพร่เมื่อ 29 ก.ย. 2024
- This video shows in a condensed way the finalization of the outline of the top and back plate of the violin. For more detailed information you can see the videos collected in this playlist: • Contorno dei bordi par... which go in-depth in the various aspects of the workings with captions that explain the operations and tools used.
You can find the complete index with direct links to all the videos on violin making here: davidesora.alt...
Questo video mostra in modo condensato la finalizzazione del contorno della tavola e del fondo di violino. Per informazioni più dettagliate puoi vedere i video raccolti in questa playlist: • Contorno dei bordi par...
che approfondiscono i vari aspetti della lavorazione con didascalie che spiegano le operazioni e gli strumenti utilizzati.
Puoi trovare un'indice completo con i link diretti a tutti video sulla costruzione del violino qui: davidesora.alt...
#violinmaking #liuteria #costruzioneviolino
As always, your attention to detail is inspiring! It's a joy watching you work!
Such meticulous and precise work! Thank you for sharing! 👍
Maybe a little repetitive, but I wouldn't call it tedious☺️
@@DavideSora yes, tedious is the wrong description. I meant meticulous. 😊
@@DavideSora tutt'altro!
Non bisogna dar nulla per scontato, e lei lo dimostra, un caro saluto. Eleonora
Gracias, Davide. Buen material para análisis y aprendizaje.
Are your corner templates the exact outline of your finished corners, or do they have some spare wood left? I saw a second line next to the line you were cutting down. I've been fiddling around for some time with getting the corners to look right before I cut the purfling, but I'm not happy yet. Somehow I did not find the right way for me to get them look alright concerning style. Can you you give me a hint? Thank you for the great video!
The shape of my corner templates is not finished, but slightly oversized to allow final tune up by eye. Let's say they have the size of the longest and widest corners that I could conceive for my taste, but I practically always make them narrower and shorter than the templates, for greater elegance and better ergonomics (too long corners could interfere with the violinist's bow ). To create beautiful curves you must first of all look at many good violins to get a precise idea of what you like and try to understand what governs the smoothness and harmony of the curves. Being cremonese, I have always been inspired by the ancient Cremonese school (the best😇😍) and one of the common characteristics of the corners of the various Masters (Amati, Stradivari and Guarneri above all) lies in the path of the inside(C) and outside corners' curves that when they ideally go out of the corner never converge in a single point joining, but always tend to separate without ever meeting, creating an effect some call a trumpet shape. This is concentrated just at the end of the corner and if it is exaggerated it creates an unattractive caricature effect. However, keeping a continuous curve until and "beyond" the end of the corner, without inflections or even minimal changes in the opposite direction is important to obtain a clean and attractive aesthetic result. It is very difficult to make these aesthetic things understood only in words, I just gave it a try and I hope that something of what I have said makes sense and can be useful to you in some way.
@@DavideSora Thank you very much for taking the time to describe this "trumpet style" so detailed, I'll do my best to understand it and find it in pictures or whenever I get the chance to see good old instruments. I visited the "Museo Del Violino" in Cremona two times but it never feels like you actually have taken in what you can see. I'm looking forward to my next visit as soon as possible again. So much to win or lose in purfling and corners! All the best.
@@smokedoak5464 In ancient instruments the corners are often very worn and it is difficult to see the lines as they were originally. However, looking for the less worn out ones among those at the back (the top is always too worn), you can still find the vestiges of the original curves. At the Cremona violin museum, however, there are also modern instruments that have won the Triennale competition, an excellent resource for this kind of observation. Alternatively, you can visit Oxford's Ashmolean Museum to see the Messiah of 1716, one of the few Stradivarius in perfect condition and with virtually no wear on the corners. You can also visit the Accademia museum in Florence where there are Stradivari's violin Medici 1716 and viola Tenore 1690, which are also in perfect condition and with very little wear. Or search for good photos of these instruments on the web, books and posters, which is cheaper than traveling from one museum to another.😇
@@DavideSora Lucky me my second visit was in 2016 so I actually had a chance to see the "Messiah 1716" in Cremona and also the ex Stauffer Collection which is a permanent exhibition I think. Sadly time goes by very quickly inside this museum (a very mysterious phenomenon 😅) so after spending most of my time with the antique masters, I had little time left for the contemporary ones, which is a shame I have to admit. And of course all the "questions" you have come to mind later on. The good thing is, like you said, there are very good books and pictures.
3:00 what kind of sandpaper is this?
It's not sandpaper, it's thin steel sheets with tiny teeth, a sort of ultra-fine rasps. They work like sandpaper, but they don't wear out. The coarse ones are old Sandvik Sandplate, no longer in production, the finer ones are NT Dresser, a Japanese brand. However, you can find both grits from the company NT Dresser. You can find something from Cremonatools (the silver finer ones) but I think you have to do a web search to find the coarse ones (black).
Thanks for sharing, can I ask if you use a jig or special tool for sharpening your knives? I’ve always found knives hard to get the perfect edge on.
I don't use any special jig for sharpening knives, the only trick I use is that the blades of my knives are removable from the handle, so I can keep them resting flat on the tool rest of the grinder in a stable and accurate way. My tool rest is quite wide and allows precise support and movement of the blade always remaining on the support surface, I made it with a piece of plywood lined with formica (plastic material), quite similar to this, but wider: www.leevalley.com/en-us/shop/tools/sharpening/jigs-mounts-and-rests/32973-veritas-grinder-tool-rest?item=05M2301
I then use Japanese water stones but freehand, no jigs. For thinner knives with a delicate tip,(bridge, F holes) I don't almost even use the grinding wheel not to burn them, just a bit for the overall shape but I do almost all the shaping and sharpening on the water stones by hand, starting with a rather aggressive diamond stone grit 300, than Japanese water stones 800grit. 1200grit and 4000grit, followed by a leather strap (glued to a flat piece of wood) loaded with aluminium oxide abrasive paste.
@@DavideSora thanks, that looks like a nice tool rest. I think I need to practice more with the knives. Thanks again
@@okiwatashi2349 knives are the hardest to sharpen, it takes patience and practice, hold on😊
If the top has damage to the edge and is partly missing, will a patch glued on affect the sound of the violin if there is an age disparity (growth rings) in the wood between the violin and the repair piece?
No, the edge (let's say the part outside the purfling) is blocked by the gluing and does not significantly influence the plate vibrations. Of course, from an aesthetic point of view, matching the grain would be desirable, any good restorer would do it, it's not that difficult when it comes to small pieces of the top plate edge
@@DavideSora Thank you for your reply. I enjoy watching your videos.
@@DavideSora Thank you for getting back to me.
tx
hi master i hope you still good and healthy miss you upload more please...❤❤❤
Magnificent! Such precision!
Grazie Maestro per condividere la sua Arte.....
Thank you for another awesome video!
Hi maestro, do you think cello spruce is ok to be used for violin making? is the density generally lower?
There is no real difference between spruce for cello or for violin, the trees are the same and the required density characteristics are no different for violin or cello (or viola). The problem is that it is harder to find in the large cello boards a homogeneous density and grain, and usually the grain for a cello is wider than for a violin, so you may have some trouble getting good spruce for violins from a cello spruce board. However, if you have an exceptional quality cello top with a fine grain and perfectly straight grain and fiber you could also use it for violins, but it would be a shame to "waste" it, as exceptional cello wood is very hard to find, due to the big dimensions that need very big trees.
Why did you apply glue to the edge?
I apply the glue only on the spruce of the top plate only, that being a softwood it needs to be consolidated in order not to crumble in the endgrain areas when cutting the fluting channel with gouges. This consolidation also increases the strength of the edges to better resist the pressure of the purfling cutter when tracing the purfling channel. The maple of the back is tough enough and doesn't need it, apart from very low-density maple cases where it might also be useful
@@DavideSora Thanks!
@@DavideSoraq2
Davide, what is the abrasive on the wood block at 6:33?
The coarse ones are old Sandvik Sandplate, no longer in production, the finer ones are NT Dresser, a Japanese brand. However, you can find both grits from the company NT Dresser. You can find something from Cremonatools (the silver finer ones) but I think you have to do a web search to find the coarse ones (black).
Glue the metal plates is a little tricky (I use cyanoacrylate glue), you have to make a cut in the wood, make a bend in the metal plate, insert and glue that bend in the cut and wrap the metal plate around the tool spot gluing it in someplace and gluing the end keeping it pressed well for some time (15 minutes at least) in some way, using tape or something else.
It would be interesting to see how you sharpen the blade on the small plane
I sharpen it by hand starting with a 300 grit diamond stone instead of the grinding wheel, then on Japanese King water stones 1200 and 4000 grit, finishing on a flat leather strop with Thiers Issard aluminum oxide abrasive paste for razors. If you're having trouble keeping the steady angle freehand on the stones (requires experience), a sharpening jig like this can help: th-cam.com/video/O_adhVrZFws/w-d-xo.html
If you want to start sharpening with a grinding wheel you have to pay close attention due to the small size, just touching the grinding wheel with the blade without any pressure. Attaching the blade to some sort of jig would be recommended, but it depends on which wheel you use (water-cooled or not, fast or slow turning, traditional or diamond or CBN, and so on) and what kind of support you have for the tools. If you have a Tormek grinding wheel (I don't have one) you can use the jig for the plane blades. th-cam.com/video/KZ07gPtB6pg/w-d-xo.html
@@DavideSora Thank you