Adattamento del bottone di violino - Violin endpin fitting
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- Опубліковано 15 вер 2024
- ⬇️⬇️ (English translation below the Italian text) ⬇️⬇️
Ridurre il cono del bottone portandolo ad un diametro massimo di 8 mm, bagnando il legno per evitare di strappare. Allargare il foro nelle fasce utilizzando un alesatore con la conicità corrispondente (1:30) inumidendo con alcool i margini della vernice per ammorbidirla e smussarla con uno svasatore conico per prevenire eventuali scheggiature. Procedere molto lentamente alesando con pochissima pressione sfruttando il solo peso dell'alesatore, portando il collare del bottone ad una distanza di circa mezzo millimetro dalle fasce. Evitare che arrivi ad appoggiarsi, in modo da avere un margine di sicurezza per eventuali variazioni dimensionali causate da variazioni di umidità. Utilizzare esclusivamente l'alesatore a lame dritte per eventuali correzioni della posizione e dell'inclinazione del bottone, riservando l'eventuale uso dell'alesatore a spirale solo per allargare il foro senza modificarne l'allineamento. Terminare l'allargamento girando l'alesatore al contrario, in modo da comprimere il legno senza tagliarlo per renderlo più stabile. Alla fine applicare della cera d'api sul cono del bottone per ridurre l'attrito ed evitare che rimanga eccessivamente incastrato nel foro.
English translation
Reduce the cone of the endpin bringing it to a maximum diameter of 8 mm, wetting the wood to avoid tearing. Enlarge the hole in the ribs using a reamer with the corresponding taper (1:30) moistening the edges of the varnish with alcohol to soften it and smooth it with a conical countersink to prevent any chipping. Proceed very slowly, reaming with very little pressure using only the weight of the reamer, bringing the collar of the button at a distance of about half a millimeter from the ribs. Avoid that it comes in contact, in order to have a safety margin for any dimensional variations caused by variations in humidity. Use only the straight blade reamer for any corrections of the position and inclination of the endpin, reserving the possible use of the spiral reamer only to widen the hole without changing its alignment. Finish the enlargement by turning the reamer backward, so as to compress the wood without cutting it to make it more stable. At the end apply some beeswax on the cone of the endpin to reduce friction and prevent it from getting excessively stuck in the hole.
Index of videos - English: davidesora.alt...
Italiano: davidesora.alt...
Grazie Davide
sempre con grande competenza e affetto
Thanks Davide. A very informative video and helpful replies to the various comments. I’m learning a great deal.
Grazie Maestro, auguri di saluti e serenità! Buon anno!
Buon anno anche a te!!
Grazie Maestro Davide!Buon Anno Nuovo!Un caro saluto!
Buon anno!!
Buongiorno Davide, immagino ci sia un motivo per non effettuare questa operazione (così come l’adattamento dei piroli) prima di verniciare.
Buon Anno nuovo e grazie mille per i tuoi video, assolutamente i migliori su questo tema.
Ci sono vari motivi. il primo è che durante la verniciatura è impossibile evitare che un po' di vernice entri nei fori dei piroli e del bottone, alla fine dovresti toglierla modificando il diametro dei fori e modificando quindi la distanza dei piroli e del bottone. Il secondo è che durante tutto il periodo della verniciatura i fori restano esposti (non ci sono i piroli) e assorbono e perdono umidità deformandosi, specialmente se si usa un UV box che aumenta gli sbalzi. Terzo, anche se si presta attenzione applicare la pasta piroli sporcherebbe inesorabilmente e indelebimente il legno intorno ai fori, che oltre a non fare un bell'effetto potrebbe anche non fare attaccare bene la vernice nelle zone contaminate. Detto questo, come si capisce dai video anche io ho già alesato parzialmente sia i fori dei piroli che quello del bottone, ma lasciando un margine sufficiente per poter fare una significativa finitura a strumento finito e assestato, per evitare tutti i problemi di cui sopra. Puoi vederlo qui per i piroli :
ua-cam.com/video/etnloilLEXc/v-deo.html e qui per il bottone : ua-cam.com/video/pSwC7HukuKM/v-deo.html
Hi maestro does the endpin effect violin sound? I think my violin has some kind of composite material endpin should i change it into ebony or etc? Brilliant job i like your videos !!
Any part of the violin affects the sound in some way, including the endpin. How large and decisive this effect will be is what matters, and this depends on our sensitivity and priorities as players. In the case of the endpin, my opinion is that these are only subtleties perceptible mainly by the player's ear, which is extremely close to the violin, but which a few meters away will become so subtle as to be decidedly challenging to perceive. Furthermore, not all violins respond to modifications in the same way, so the way forward would be to try different endpins (ebony, rosewood, boxwood, other woods, composite materials, without forgetting what seems to be in fashion today, namely titanium). and decide for yourself if you hear the differences in order to choose the best one for your violin and your ears. My best tip? If your violin sounds good, leave it as it is and save yourself the time and money of trying these modifications, you may find that it was all for nothing. However, if your violin has some sound problems, you can try some modifications but don't expect that replacing the endpin will do miracles.
Цвет скрипки очень приятный!
Если не секрет, какой лак применяете?
Thank you!
You can find almost all the "secrets" on my varnish in this playlist (13 videos): ua-cam.com/play/PLaxadm6POX7EYXWa62vyXkBgcBOK0YnIg.html
@@DavideSora огромное спасибо!
How long is finally the distance between the ribs and the "collar" of the endpin on the tapered endpin dowel?
With what kind of treatment did you wipe the endpin with this dark cloth?
I measure it by eye, it would be difficult to measure it accurately, however I would estimate between 0.5 mm and 0.8 mm, depending on whether the ambient humidity is lower ( 50%), or even up to 1 mm if the humidity was very high (> 60%). For example, if you immediately bring the collar into contact with the ribs, as soon as the humidity drops by 15 or 20%, the button will immediately loosen. Don't worry, it would probably still stay in place and do its job of holding the tailpiece (it wouldn't come off too easily due to the leverage effect), but the lack of tightening could negatively affect the acoustics (responsiveness).
The "dark cloth" is loaded with beeswax, it is black because it is very old and dirty with ebony dust due to the many pegs I rubbed (I have never changed it for more than 30 years😵).
@@DavideSora Thank you for your answer which to read is a great pleasure. Well, I did not expect this sensitivity to environmental air humidity. Thanks for your tutorial.
The second with the dark cloth I fear is almost impossible to copy. It is violin maker`s magics.
@@ghlscitel6714 Yes, the problem is that conical couplings are very sensitive to dimensional variations, and wood is not a stable material from this point of view due to its internal humidity (EMC) which constantly balances itself with the ambient humidity.