studio.ru-vid.com__4wTr7T1Eo/edit Thinkness gauge for Violin,viola,cello. This is a new type of thickness measurement device - magnetic thickness gauge. The basic testing principle is use two magnetic bodies S-N to attract each other. If there is an object sandwiched between them, then the gap between the two magnets is the thickness of the measured point of the object. Pulling the tail rope will make a "pop" sound. At this time The scale position corresponding to the red cursor is the thickness of the measured point. Small wood chips are standard pieces of various thicknesses. Because climate change has a great impact on small wood chips, the thickness must be calibrated every time it is produced. If there is an error, it must be corrected to the standard data. Since the display of the thickness gauge is non-linear, each corresponding data must be calibrated. Be consistent with vernier calipers or centicalis without the slightest error. During the production process, when each thickness gauge is adjusted, the accuracy of the corresponding scale of the cursor is controlled within 0.03mm. That is, when measuring and inspecting with standard wood chips, the cursor is aligned with the scale and cannot be off-line. Once adjusted, the data is quite stable and can remain consistent for a long time and is not affected by the climate, but be careful not to overheat to 100°C and not overdo it. Measurement method: The external magnet is put into the piano cavity through the F hole. When measuring, the external magnet will move with the test rod. When it reaches the measured point, pull the tail rope. The red cursor above will slide on the scale. When it makes a "pop" sound , the scale corresponding to the cursor is the thickness of the object. There is a new Violin made of very good materials. The top is a chicken claw board, and the bottom plate and headstock are top-notch European materials. However, the sound is not ideal, the four strings are unbalanced, and it is determined that some areas are too thick. After confirming the repaired area, open the panel and make targeted adjustments. Do not open the cover without knowing the contents of the repair. mail leon.li@sunrisechina.net
I have enjoyed your lecture,and my attempt using the information and like drawing; to my improved skill placing f- holes. I am impressed . Bravo ,I am grateful and blessed by your shared research.
bless you for uploading but I see so many design flaws. it started with video 1 with your 2 halves, then the door form outside, now since you "went back to the drawing board" you still choose the "worst" solution. (I deleted 2 posts in other videos but now you continue to do crappy solutions. so I will post here. (not sure what comes next) seals: wrong, wrong, wrong.... again you chose the least ideal design. (seems nobody has any technical understanding at this project. GUYS!!!!! my dad would have smacked the back of my head if I came with so many shitty solutions. why flat seals? why flat surfaces for the seal area???? must be a cavity for a round seal where the pressure pushes it against a wall. you should have welded a circle "channel" U-shaped and insert a round seal. edit: same for the sqare door. why not a round one? easy to get round seals.
I always wondered how these instruments were designed...you explained expertly! It's been difficult for me to believe that they were organically designed, Geomety saves the day!!
I just watched the dynanamic 3D scans of the Titian Strad and at frequencies higher than about 2000 Htz noticed the tremendous movement of the delicate wood around the treble f hole in particular and immediately thought of your illustration of the asymmetric height of the top eye with about a 1 mm difference, I don’t know if the Titian has this characteristic but it’s interesting nonetheless. Here is the video I viewed ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-TJlVKzUj1-M.html
I am building a thicknessing punch according to the specifications of Davide Sora to help with accurately carving the thickness on my first violin. Do you think this is a good technique to use?
I find your videos fascinating. I am 60 years old and have worked with wood for decades but am now attempting my first violin. I began with a study of the geometry of the forms and have notebooks and large sheets of graph paper where I investigate the arcs, ratios, proportions and relationships between them before beginning any work in the wood. Then I found your work and it’s been revelatory and extremely interesting to me. Thanks for sharing it all.
hi charles, thank you for posting these videos. They are extremely useful to me. They are very reminiscent of the work of Euro Peluzzi derived from the manuscript "Librum Segreti de Butthega". I wanted to ask you if your measurements and demonstrations derive from that work or if you arrived there starting from other assumptions. Thank you very much.
Thank you for your presentation. A lifetime of masterful work being summarized is more than I could have asked for as I begin my making. Very much appreciated.
Fascinating insights into the structure and performance of these legendary bows. Having just come across your videos , I had the serendipity to come across a 3/4 size bow in the tourte style at an antique shop. Weighing only 54 grms haired. Beautiful soft dark finish,very slender and produces an even silky velvet tone on my violins (one warm, one bright) across the whole dynamic range with great color, beautiful accents, martele and resounding double stops. I had no idea there could be such potential in a light bow lightly tightened..
Thank you for your labor of love in all that you have done to reveal the very rational mindset of the Renaissance/17th century masters. It seems rationality and harmony of proportion was their big secret. Now what about the varnish? Pine sap and linseed oil. No biggie?
I suspect Leonardo. He invented something that resonated extremely well and was something akin to lira da braccio, but we don't know what it was or what it looked like. He even won a musical award playing it. He died in 1519 and violin appeared around 1520. Oh, and he was the first engineer, founder of technical drawing, author of a square root spiral and inventor of a compass.
I don't play any bowed instrument yet I'm fascinated by videos of violin and bow making, repair and restoration. Dr. Ervin is a joy to listen to and watch.
I respect modern violin builders, but the more I learn from you puts the guys that came up with these original designs puts the respect in a whole new league.
2:27 an Australian boomerang! Ahahah that was great! You'd have to be one DUMB Aussie to throw a boomerang and not have it come back to you - it would be like holding the bow in your right hand by grabbing the head and having the frog, button, winding, leather etc at the top..... Still. Love your videos. Very entertaining .
Another analogy would be (2:27) : "it's just like a racing car going around the whole track three times *in reverse* ..... it's very unlikely to come back to you!"
10:03 "so it's missing the bridge". I really just think it is coincidence. I don't think Guadagnini stayed up all night thinking about what it was that he could do to get his violins to sound better. It's possible that he picked up a Strad, A. Guarneri, Amati and thought "hmm... these f holes look lower and slope in this certain way" and so he decided to go that way with his own making. I really don't think he studied science and mathematics the way we can do today. I think he purely stopped trying to design his own violins and went back to a more Strad or Amati-like design/construction.
As I commented below: If you altered Guaganini's f holes - it would have very little difference in the sound. Sure, if you took away wood it would probably lose some (only *some* ) sound. But ultimately it is just design. I'm sure Guad did this all by eye and measuring, but not with sound in mind. I've worked with great makers and collectors/sellers (even lucky enough to go back to Charles Beare) and a lot of these design choices are aesthetic. The real sound is in thicknessing and tuning of the plates, wood choice, rib height etc.
A very distinct top for a Guad. Is it in four pieces by any chances? Or three (one central piece)? Perhaps just a very huge sudden change in the grain quality and so the wood "soaked" up the varnish and/or ground more easily on the outer sides of the top....? I'm very curious.
Dr Ervin is immensely generous with his knowledge. In itself this is an admirable quality of any craftsman in any field. In this knowledge exists a legacy which is a treasure for all who travel this path. Thank you.
Really think about it. Stradovarius was essentially using a pencil to draw what CAD software does in a few bazillion clicks... Centuries before the thought of CAD existed. Imagine what could be done if he was alive today.
