The Making of a Violin
- WOOD SELECTION...
- Wood selection is an important of the building process. Considerations like how well has the wood been seasoned? What are the aesthetic goals? Does the overall figure of the wood match? If you're trying to match that of historical Italian instruments; what is the origin of the wood, Etc... These are some nice examples of Flamed Maple for the back and the sides of the violin.
- Tightly Grained Spruce for the top. I use the finest quality spruce from many different sources including Fine Italian Spruce or wonderful Spruce found in the USA, seasoned over 50 years.
- Finest, Deeply Flamed Maple Neck Blocks. From European sources and in the USA
- GLUING THE BLOCKS TO THE MOULD
- I have created the mould to the precise measurements of the pattern. This particular pattern follows the Stradivarius "Grand Pattern".
Depending on Instrument that you are seeking such as Stradivarius, Magginni, Del Gesu, Guarneri, Gerbonzi etc.. each model has specific measurements and the instrument is handcrafted to those specifications.
Each block is glued to the mould; Upper, Lower and Corners, then shaped to the outline of the violins.
Blocks are completed and you can begin to see the outline of the instrument
- BENDING THE RIBS
- Now on to Bending the Sides or Ribs
- Each rib is cut and precisely bent to the outline pattern of the mold so that they can be glued to the blocks to form the final garland of ribs.
- Bending is completed to fit the outline of the mould....Ready to be glued
- GLUING THE RIBS TO THE BLOCKS
- After gluing, the ribs are clamped to the blocks using the mould and fitted blocks
- Another Look at the Glued Ribs- Next Step Fit the Linings
- SHAPING AND GLUING THE LININGS
- Willow linings are added to the inside of the Top of the Ribs on both sides in order to give the Top and Back a larger gluing surface. The willow linings are fit so they can be placed to the upper and lower blocks and are inserted into the corner blocks.
- Cutting the Linings to Length
- Hide Glue! I haven't talked much about this wonderful material used for gluing the instrument together but I would be amiss if I did not.
Hide Glue is an Animal Protein that has a unique... acquired smell. It is a high quality glue that, at the right temperature, creates an extremely strong bond that can withstand a high amount of pressure when dry. The glue can also be removed without damaging an instrument. So when repairs are needed, they can be performed without damage to the Violin, Viola or Cello.
As I receive instruments in my shop for repair, I have seen too many that have been "repaired" by someone who did not understand the importance of using hide glue, not to mention the lack of craftsmanship for such a repair.
They say that Dvorjak composed much of his music while his children were running around about him. Some might want a quiet place to work...As for me; I would not have my workshop without the talks, laughs, smiles and even sometimes cries of my children.
- CLAMPING THE LININGS
- Once Glued, clothes pin are used as clamps until dried
- Linings are all in, Placed and Clamped. The same process is completed for the other side once this side has dried.
- JOINING THE FRONT AND BACK
- Earlier we selected our spruce top and it's now time that we split the quarter sawn piece and join the edges perfectly flat so that the gluing surface can be stable.
- Hot Hide glue is quickly brushed on before it begins to gel.
- The two sides are rubbed together. Doing this creates a very tight joint with glue on every part of the surface.
- Although not necessarily needed, light clamping pressure is given until dried. This is done in part to help keep the boards from any movement while initially drying.
- The same process for gluing the back.
If you look carefully there is an outline placed on the back which is the outline of the violin so that the initial carving of it can begin once the glue is dry.
- CARVING THE BACK
- Once the outline of the violin has been cut the carving of the outside convex surface can begin.
This can often be a challenge since maple is not a soft wood. Also, depending on how highly figured the wood is, it creates the added challenge of grain going in different directions. Sharp tools and patience are a must!
- CARVING THE TOP
- The same process for the Spruce Top is completed. In contrast to the hard maple, spruce is a sheer pleasure to cut.
After Removing the Bulk of Wood with Gouges, A finer level of detail is completed with small planes and scrapers.
- PLANNING THE TOP AND BACK
- Small finger planes are used once the bulk of the wood has been removed. We're getting closer to a final outside shape.
- More work by a mini plane to then be followed up with a sharp scraper for detail work
- PURFLING INLAY
- A groove is cut around the Top and Back so that the purfling inlay can be glued in place. This purfling inlay is both an aesthetic addition to the instrument but probably more importantly, very functional. The inlay acts as a conduit and provides strength to the edges of the violin. This will prevent cracks from occurring Or when they do happen, it will prevent them from growing.
Cutting the groove and placing the inlay requires skill and often shows the craftsmanship of a maker.
- Purfling is in place with joints tight at corners creating a perfect miter.
- SCROLL WOOD BLOCK SELECTION
- Very seasoned wood with finely flamed maple is selected for the scroll. The piece in the front is select quality Bosnian Maple.
More to come soon...Carving out the Scroll and Varnishing the Instrument
