Violin back arching from start to finish
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- Опубліковано 19 гру 2020
- A condensed version of the sculpture of the arching of the violin back. The edge outline finish and the purfling inlay are not included to save time, also because they are not strictly related to the arching.
Una versione condensata della scultura della bombatura del fondo del violino. La finitura del contorno del bordo e l'intarsio del filetto non sono inclusi per risparmiare tempo, anche perché non sono strettamente correlati alla bombatura.
Index of videos - English: davidesora.altervista.org/vid...
Italiano: davidesora.altervista.org/video/
#violinmaking #liuteria #costruzioneviolino
I've been watching your videos for years, but until now I've never taken the time to tell you how much I enjoy and appreciate them. I'm fascinated by the way things are made, and woodworking is my principal hobby, so I am truly amazed by the skill and knowledge you bring to your craft. In a world dominated by incompetent, indifferent workers on one hand, and coldly inhuman machines on the other, it is truly a pleasure to watch an authentic master craftsmen at work. Thank you for taking the time to make and post your videos, and thank you for carefully documenting the many ingenious methods you rely on to build such beautiful instruments.
Thanks so much.
I really appreciate your words, it's always nice when someone understands and appreciates the nuances of differences related to your way of working.
I wish you the best😊
Yes, as a previous poster mentioned, the photography and editing is superb! I've watched this video at least 6 times and continue to notice something new with each view. Thank you.
Such beautiful work! Thank you for all you do. Your mastery of your craft is marvelous in itself, but to film it with such care and share it with the rest of us? That is a miracle. I really believe that your videos keep me sane.
Thank you.
Thanks to you and your videographer (if they are a different person than you) for making these videos. I love listening to the sound of the carving while I do my own work. It's very relaxing and satisfying.
Thanks, I'm happy to help you relax. Thanks also from the videographer, who is always me😊
Thank you for posting these awesome videos. I have been restoring for 17 years and will soon begin building in retirement. I would be happy if I could build a violin 1/2 as beautiful as yours. Thanks for sharing your gifts and the fruits of all of your hard work and experience!
Davide, Your back is incredibly beautiful! I've read your comments on the Pegbox--Marstronet, along with Michael Darnton, Manfio, Jacob, and the rest of the fantastic group of guys. But, just from your words of wisdom offered ever so often, I could not have imagined how good your work is! I think I'll go back and read again every comment you've ever made with those guys. Oh how privileged I am to see your work! And, your video efforts are so well done! Easy to see! Very helpful! Thank you so, so much. I now, for the first time, feel I really know how to do the arching on the back, also how to create the corners. Wow!
Thank you very much for your super kind words, much appreciated!!🙏🙏
In case you are not already aware of it, you can find an index of all my videos on my website, for easier consultation and in the order of construction process: davidesora.altervista.org/videos/?doing_wp_cron=1667648806.5890510082244873046875
In this video I also explain how to use the index: ua-cam.com/video/hadIStJtKps/v-deo.html
The videos named "from start to finish" are only condensed versions that bring together many more detailed videos with captions that describes the various working operations, translated into English on the description page below each video
Just beautiful! Incredible craftmanship, lovely wood, well filmed and very helpful as always. Thank you so much for making these videos!
Cheers, Tobias
It's so beautiful! I admire your work, not only because i come here to your channel to feel better! But also to enjoy the process of making! And creating thing with your hands its the most beautiful. thank you for your hard and beautiful work!! I hope you to be healthy always!~
Beautiful work!
Grande!!!
Saludos maestro Davide que belleza de trabajo!
Dear Master Davide Sora!
I am very pleased to see that your health is fine and that you enjoy your work. We wrote together this spring! -
I read your explanations on the smaller sizes on Stradivari cellos, which I knew because I was studying the construction of Baroque-instruments with shorter necks years ago - in any case, I found your comments on Guadagnini-Cellos very interesting, and I am considering seriously to order for a cello after 2023 with you .... I have been keeping some old spruce wood for cello from a violin maker from Bubenreuth (estate) since 2000 ... (about 1950 ... 50-70 years old - harder and softer qualities, narrow and wider annual rings grown .... I will show you) .... that was already my wish to Ms. Anne-Marie Menta after 2000 when I saw one of her violins at the Triennale - I've been carrying this thought with me since that time. -
When the Covid-situation in Europe has calmed down more, I intend to come to Cremona with my wife Carolina to stay for few days -
years ago we came every year to Cremona and liked to live in apartments on an old Italian agricultural manor house 10 km outside of Cremona near the Po - as far as I can remember, there we got fresh tasty sheep and goat cheese for breakfast from the own production - you will probably know this Agricultura.
In this time about 2000-2005 we went every year for holiday to Alassio via Brescia-Cremona-Piazenca-Savona at the beginning of June - and stayed two, three days in Cremona - we want to revive that - I have been retired since one year, so many opportunities are possible again.
We were also friends with the painter Garutti from Cremona, we have some oil paintings by him.
Dear Master Sora:
Please stay careful and healthy!
We wish you and your family a peaceful Christmas and a happy New Year!
Auguri! Aufuri!
Helmut Frais, Vienna
Dear Helmut,
It would be a pleasure for me to meet and talk to you when you are able to come back here to Cremona, in the meantime I wish you a Merry Christmas and a Happy New Year!!
Saludos desde Bilbao. Y gracias. Sigo aprendiendo lutheria.
❤Absolutely stunning❤Beautiful.
Thank you very much!
Hello Davide, This is amazing to watch. At 12:25 you draw some nested hourglass shapes on the surface with a pencil in a holder. Are you following a pattern? Are you drawing them by eye?
Thank you for watching!🙂
What I draw are the isolines that help visualize the trend and symmetry of the arching curves. Each tracing tool I use (you can see several resting on the workbench) is set to a pre-set measurement so that you can retrace the same isoline several times at the same height as you shape the arching. The underside of the plate is still flat and not hollowed out at this point of the work, so the flat (bottom) part of the tracing tool can rest on it and accurately hold the position of the overlying pencil, resulting in precise and repeatable tracing. They are very simple tools, but very effective. I don't follow a fixed set of measurements, I simply use these isolines to better visualize the arching shape and possibly compare it with the previous archings of my violins made on the same model. But a slight difference in the total height of the arching or widths of the model (not unusual) would make it useless to try to reproduce pre-set measures. For this reason, it is helpful to use this type of aid but the visualization of the general shape by eye is fundamental. The eyes are the most important tool for a violin maker and remain the most accurate and reliable.
Dear M. Sora. Thank you again for these wonderful videos. I am 76 and have made more than 200 violins but I learn many new methods in each video. Can you tell me 1. Do you cut the channel in the plate before doing the perfling? 2. I see that some makers use a machine to make the channel. What are your thoughts on this? Thank you for your generosity. Peter
Dear Peter, thanks for your appreciation of my videos. I haven't reached 200 violins yet, but if I manage to reach the 76th birthday as you, maybe I'll reach 200 violins too.🙃
Regarding your questions, yes, I cut the channel before inlaying the purfling. You can find all the detailed videos on purfling gathered in this playlist. Some are a little old, but I still do it exactly the same way.
As a side note, I think Stradivari also made the channel before the purfling, but that's just a guess that I developed especially observing his inlaid violins.
Regarding using the router (or a CNC) to cut the purfling channel, I am decidedly against them, because I believe that manual work with traditional tools also has a value in itself, and also the added value of keeping alive the skills necessary to carry it out, otherwise all these ancient techniques would be inexorably lost. I think that, especially for a Cremonese luthier, this transmission of traditions must be a priority, if not even a duty, to preserve the legacy of the masters of the past.
Then, everyone can do as they like, for me it is sufficient that there is transparency in the methods used, that is, that it is clearly stated how the works are carried out, without lying for "marketing" reasons.😉
@@DavideSora thank you for your reply. I did have some human help making all those violins, but I only spent one year in Poland, communist at the time, studying violin making. Most of my knowledge came from making, from conventions, from UA-cam or other ways. I taught violin making to Native American and Hispanic students for ten years at the University of New Mexico. Teaching made me a better violin maker. I do all work by hand, but at this age I use a drill press and a band saw. It’s hard for me to carve with gouges as I used to, but I still do, and finger planes. Your work is very beautiful and your videos are priceless. Thank you so much. I am sure you will live a long life. I hope to come to Cremona next year to see some Facebook friends who are violin makers there. Best wishes to you
With great appreciation. Peter
@@peterwhite7428 Thank you for your comprehensive presentation, I appreciate it very much, and I congratulate you. If when you come to Cremona you like to stop by my workshop to say hello, you will be welcome.🙂
Buongiorno Davide! La mia costruzione del violino prosegue bene grazie ai tuoi preziosi video!!! 😊Mi chiedevo, quanto deve pesare il dorso finito ? È necessario raggiungere spessori di 2/3 mm oppure è preferibile assottigliare maggiormente la tavola armonica? Grazie mille
Non so se ho capito bene la tua domanda, ma comunque fondo e tavola hanno spessori diversi, il fondo è molto più spesso mentre la tavola molto più sottile, perchè è rinforzata dalla catena e perchè assolvono funzioni diverse. Riguardo al peso delle tavole, non ce n'è uno ideale, ma dipende dalla densità del legno che hai usato e dalle dimensioni del tuo modello e della tua bombatura. Puoi trovare tutte queste informazioni sugli spessori in questi video:
ua-cam.com/play/PLaxadm6POX7Hy2CxMIMU5wcOOBxxNsq5r.html
Beautiful work and video. What's the width and sweep of your larger gouge for bulk removal?
Thanks!
The big gouge for bulk removal has a sweep n.6 and is 35 mm wide.
@@DavideSora Thank you so much for the guidance and response.
@@DavideSora I'm an aspiring new hobbyist mandolin builder, and am looking at finger planes. What carving tools would you recommend as "essential" for plate carving, aside from the already mentioned n.6 x 35mm? Sincere thanks for your help and time.
@@fleetomeremoteelf I think the essential can be different from maker to maker, however I like to favor the sculptural aspect of arching with gouges , so I also use a flatter gouge, i.e. sweep n.3 x 35mm wide, and a smaller n. 5 x 22 mm wide to work the steepest part of C's. Then there are the two specific gouges for the fluting channel but I don't know if these apply to mandolin making. As for fingerplanes, the one I use the most has a 12 mm wide blade and is 35 mm long and is the one I would say essential, while a smaller one (10mm blade, 30mm long) and a larger one (18mm blade, 45 mm long ) are definitely useful. All fingerplanes with curved sole.
@@DavideSora Many sincere thanks for this information. I've been scouring mandolin cafe for distilled info on initial tooling needs, but your succinct answer is worth it's weight in gold (obviously, like you said, each maker is different with what tools they prefer). I truly appreciate your time and obviously your master craftsmanship. Deep thanks from across the pond.
David, which gram strength hide glue do you recommend using at the proportions you quote in your outstanding videos? Jim WIcks
Unfortunately I don't know the gram strength of my glue, I got it many years ago from Japan and then it was not common practice to indicate it.
But judging by the characteristics of gel time vs dilution I think it is quite high, probably something between 315 and 350. I prefer to adjust the dilution and gel time by doing preventive tests to understand the glue I have, I never completely trust the specifications indicated by the manufacturers, because these numbers often differ from manufacturer to manufacturer so I don't consider them completely reliable. Since my glue stock is running out, I recently bought Nikawa glue with two different strengths, 350 for strong and fast gluing and 140 for less strong gluing that require a longer gel time, but I haven't tried it yet, sorry.
@@DavideSora I wish I could find a stock that pays as much in dividends as you do when asked a question. Thank you David, and a very Merry Christmas. Jim
@@jimwicks3656 😄 Merry Christmas🎄
@@jimwicks3656 well said!!
Hello master
I mark the line of the rib on the plate with a scriber - now what im supposed to do with the mark? Sand it until its gone?
You must leave it visible, you will need it when you have to glue the plates to the ribs. Of course, it would be better not to make it too deeply scratched, but even not too light, otherwise you don't see it clearly when you need to. This tracing of the ribs is visible on all Stradivari's plates, it is one of the hallmarks of the ancient Cremonese method, so why take it off? I don't.🙂
@@DavideSora thank you - you cheer me up, i was so confused.
Thanks
Once you sand the sides of plate, do you take any measurements or just eye it until the lines disappears ?
I check the measure with a thickness gauge, just to be sure...
@@DavideSora Hi Davide. No I meant the outside form. Do you measure the width and length or just use visual symmetry. Thx for the great videos.
@@peterpickguitar Do you mean to make the edge outline like in this video? ua-cam.com/video/nflLgcWDzZ0/v-deo.html
If this is the case, I do it mainly by eye, but respecting as much as possible the overhang of the edge from the ribs which must be fairly uniform. In reality, in the Cremonese system, it is precisely the ribs that dictate the shape and any asymmetries of the outline, with minimal corrections made to the edges by eye to harmonize the curves. Only in the corners is there a greater margin of intervention by eye, but it is always the rib corners that narrow the field of possible variations. This is why it is so important to understand how to manage the rib outline in the Cremonese system, where the use of the internal form allows a lot of freedom in modifying it even with the same form.
@@DavideSora Thanks, that's what I meant.
🇲🇦🥀👍👍
Super tedious process! And thst's just the outside. Need it to both look and sound flawless. There's a whole process for the flip side. I've seen people try to shortcut it with power tools - shoddy, cheap sounding quality.
Yep, I leave power tools to others, they are not for me. Manual work is much more satisfying and allows for much finer quality control.