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
You can find all the videos about varnish in this playlist: ua-cam.com/video/rf4lL8kiOQI/v-deo.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😊
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!!!
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.
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.🙂
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.
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.
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.
استاد بزرگ بسیار ممنون بابت تجربیاتتون❤❤❤❤❤❤❤❤❤❤❤
Absolute Perfection🤩
Che forte vedere dentro il violino!! Le studi tutte per farci vedere tutto!!👏🏻👏🏻❤️🥇❤️😁
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! 😊
Thank you for sharing a great information and you are a great master of violin making ! ⭐👍
Grazie molte, oggi inizio la costruzione della mia prima anima!
Maestro! Tutti i suoi video sono eccezionali ma questo mi ha proprio emozionato. Grazie!
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😊
Thank you, Davide! What a wonderful example!
Thanks Michael 🙏
نهایت آموزش بود سپاس از لطف بیکران شما
Interessantissima e chiara esposizione! Era ciò che mi mancava, importante punto di partenza per procedere nella conoscenza. Grazie, Davide!
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
Grazie mille Maestro Davide per il video! Con grande rispetto.
Thank you for sharing your knowledge.
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
An incredibly helpful video. Thanks so much for posting it. Much appreciated.
Davide sei meraviglioso!
Fantástico trabalho maestro, abraço daqui de Algarve Portugal.
Bravo,exelente 👏👏👏
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: ua-cam.com/video/rf4lL8kiOQI/v-deo.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😊
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!!!
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.
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.🙂
👍👍👍👏👏👏
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.
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