The art of making a Violin

When preparing to make an instrument, the luthier must first consider the choice of materials andcreate a strategy for its design. Let us remember that the delicate pieces of wood of the instrument(upper and lower plates, ribs, fingerboard, fittings, gaskets, etc.) are glued together in a way that isexpected to hold perhaps for hundreds of years.

To shape the contours of the thin strips of maple, called ribs, a template is made that will be laterremoved from the structure. Front and back plates must be very thin to be able to resonate easily,but since they also must withstand serious stress - they are shaped into a very precise vault. Theends of the thin plates are reinforced by the adding of decoration (purfling) in them, which alsocontributes to the aesthetics of the instrument and forms its appearance.

Once the arch of the plates is formed, the engraving inside can begin. The gradual removal ofmaterial from the board, the reaching of the correct thickness, excision of the f- holes andinstallation, as well as gluing the bass bar, are really the most difficult aspects in the development ofthe violin.

No two pieces of wood have the same properties and therefore handling is different every time.Carving the scroll and shaping the neck of stringed instruments has a long tradition and they areprobably carriers of the symbolic value of the prototype. Once completed the instrument is varnished,its tone can be fine-tuned by positioning of the sound post (the "soul") and other aspects of the final

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The art of making a Violin

arrangements (set-up of the instrument, tuning, etc.).

Materials

Trees traditionally used to build instruments of the family of violins include maple for the back plate,neck and ribs, and spruce for the top plate. The varieties of the most widely used maple aregenerally Acer Pseudoplatanus and Acer Platanoides. Maple (1) is a medium sized tree with manybranches, palmate shaped leaves, small flowers and distinctive winged fruit in pairs. Spruce (2),most commonly used for the top plates of stringed instruments, has a Latin name Picea Abies orPicea Excelsa, with evergreen, narrow needle-like leaves.

It is sometimes said that the wood suitable for violins is that which grew at high altitude and had togrow in harsh conditions such as inclement weather and poor soils. While this may sound like a myth,it is nevertheless true that wood which has grown too fast in a good environment and rich soilgenerally tends to be less resonant and withstands less the stresses to which it will be subjectedwhen finished. It is also a well-known fact that naturally dried wood, dried in the open air a fewyears (not kiln) is a far better choice. This is especially true for stringed musical instruments, whichare made of thin wood strips and must successfully tolerate considerable tension of the stretchedstrings on them.

Usually 8 -10 years is considered necessary during drying for quality sound wood. If it is used fresh,undried wood will inevitably sweep, split or unstuck. Luthiers should consider in advance thestrength, agility as well as resonance and tonal qualities of the material prepared for making aninstrument.

Part of the advantages of personal choice and personal felling of wood for luthiers makinginstrument is knowledge gained during the initial cutting and drying of the material. In making theviolin the century-old idea has fortunately been retained that a thorough understanding of the wholeprocess - including the felling and preparation of all material - is the key to successful "feel" for thework as a whole. Even if you do not plan to cut wood it is always icertainly a valuable experience todo it at least once or twice.

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The art of making a Violin

It is very important to export the tree out of the clearing as soon as possible after cutting it down inorder to prevent insects and development of the fungus between the bark and sapwood. It isbelieved that treatment of wood with borax prevents the growth of fungi that can cause staining anddiscoloration of the wood. It is said that initially storing the tree in an upright position (in thedirection of growth) benefits (because of the possibility of outflow of sap, which is still in the pores).Storing the tree during the first few months is usually performed outdoors, under a simple shelter,insofar as no rain or moisture are detrimental to the tree at this stage, except for the fact that thehigh moisture content promotes fungus growth and wood attracts insects. Speculation that thegreatest masters of the seventeenth and eighteenth century treated wood in some special way herewill be ignored, but accepted as true that naturally dried timber, which remains completely intact, isthe best material for better sound instruments.

In general, there are two ways of cutting / splitting of boards needed for the material for themanufacture of instruments of the violin family. One is radial cutting / splitting from the center ofthe tree and is usually called "quarter sawn" (3) and the other - tangentially to the perimeter, and iscommonly called "flat" (4). Traditionally, the preferred way is the first one.

Design, proportions

During the Renaissance people believed in the teachings of Pythagoras that beauty is a result of theproper ratio of proportions (or their size, as a numerical ratio). The shape of the instrument isdesigned to withstand the forces acting on it and to direct them to a state of balance and the beautyof its lines is a direct and inevitable consequence. The design of classical instruments, of course, isinfluenced by this type of Renaissance thinking, where mathematics, knowledge of harmony andaesthetics are fused from different disciplines, including architecture, painting, astrology and music.In those days it was quite common for a chemist to study music, philosophy and art, the artists - toteach astrology and mathematics. There is strong evidence supporting the fact that classical violinmakers have used in its creation the geometric designs principles, including the influence of early

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The art of making a Violin

Greek and Latin thinkers like Pythagoras, Plato and Vitruvius, although the application andenforcement of these principles seems to have been quite free.

Glue / Joints

The adhesive used used in the manufacture of stringed instruments is the traditional hide glue in theform of converted collagen. Although very strong glue and holding the wooden parts together verytightly – the adjacent panels (to be bonded to each other) must be perfectly fitted! Hide glue is not aglue that fills the gaps so that the cutting tools (planes, chisels, etc...) must be razor sharp, andthose adjacent planes (or their edges) - worked with great precision.

The main advantage of the hide glue in the construction of musical instruments is its reversibility.Quite often, the instruments must be repaired or reconstructed and glued. With hide glue parts canbe handled without risk of damage, especially if the repair is done correctly. Use of syntheticadhesives - such as PVC, etc. - for the repair of instruments has caused more damage than good.

Merits of the various types and glue, and their preparation, method of use, storage, etc. are aseparate topic that will not be considered here.

Joining of parts of the violin family instruments (gluing sites or seams) include both simplecompounds (such as the central, straight seam adhesion between the two parts of the top and / orback plates) and complicated once like the joint between neck and body. It is essential for the healthand longevity of the instruments for these assemblies to be perfect.

It is believed that Egyptians were the first who used a hide glue made from pieces of skin with water.Traces of glue have been found in ancient artifacts. At the time of creation of the first violins, aprototype of today's production and use of hide glue was already a long tradition in many of the thenexisting Arts. At that time, a manufacturer of glue was each individual craftsman rather than aspecialized producer. The hide glue and gelatine are both products of the effects of heat and wateron the collagen, extracted from animal skin and bones. Hide glue produced by the skin is of higherquality than that of bone and is generally used for making violins.

The production process of the glue can be done at home but is pretty dirty and the odour isunacceptable for most of us! It is best to buy as a final, finished product from a trusted supplier.

Chemical content

The hide glue protein is obtained by simple hydrolysis of collagen, which is the main protein

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The art of making a Violin

ingredient in animal skins. Collagen, gelatin and glue are very closely related to the composition ofproteins and chemicals.

The approximate chemical composition of the putter is:

Carbon 51-52%●

Hydrogen 6-7%●

Oxygen 24-25%●

Nitrogen 18-19%●

Total 100%●

Molecular weight of the hide glue varies in a very wide range - from 20,000 to 250,000 units. Thehigher is its molecular weight - the greater is its bonding force.

Mould

There are two main traditions in terms of making the structure, forming the ribs (mould, template).One is following the traditional Italian method, which is developing a relatively thin internaltemplate that determines the position of the ribs and they followed it from the outside (i.e., thetemplate is inside) and the second is the so called French method that uses an external template(mould), usually sufficiently deep to accommodate the full height of the ribs (i.e. the template isexternal and the ribs are placed inside).

Six blocks (four - for the corners and two – for the top and bottom of the instrument) are cut andfitted in dedicated locations in the template, temporarily glued to it. When blocks are shaped to thefinal contour of the ribs, the ribs are bent on a hot iron form so as to match the shape of the matrixand subsequently be permanently affixed to the blocks. When ribs are done, they can be removedfrom the template (molud) and glued to the top and back plates.

Ribs

Ribs are 4-6 strips of maple, which build the structure separating the back and front of the violin.

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They have a secondary vibration function, but with a significant contribution to the transmission ofvibrations between the back and front of the instrument. Nowadays, with the emergence of modalanalysis and a new understanding of the vibration behavior of bodies is more rational to think ofsounding body as a whole, and that the ribs are just part of the body, contributing to the way thewhole instrument vibrates depending on their hardness and mass. Ribs also determine the volume ofair throughout the structure and the internal shape of the boards. They are bent with heat andhumidity to match the shape of the mould.

Ribs can be built without a template on a flat wooden board or on the plates themselves.

The ribs are glued to the six blocks that remain as structural reinforcement of the interior of theinstrument. Since the edges of the ribs, touching the top and bottom plates, are too narrow to createa good compound - 12 pads of spruce or willow are fitted and glued on the inside of the ribs alongtheir entire length. The upper, non glued free side of these pads is facing towards the top andbottom plates, which will then be glued to it. Pads add strength to the whole structure of the ribsand influence the vibration behavior of the whole body by its hardness and weight.

Arch

The outer contour (arc or arch) on the back and front of the violin is formed to its final form usingchisels, planes and scrapes. Structurally self-sustaining and very heavy duty, the arch-like shape ofboth plates was selected to give a thin wooden plate sufficient resistance to lateral pressure on thestrings, and to distribute the pressure evenly over the board. There are many options for shape andheight of the arch. High and wide, low and flat, etc. - each form forces the instrument to vibrate indifferent identifiable modes. Arch is a function of the overall aesthetics of instrument, depending onthe style of its creator.

Purfling

Purfling (or inlay), which traditionally is inlaid near the outer edge of violins and other stringedinstruments, has a dual function. More importantly perhaps protecting small, fragile edges of the

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instrument against continuous wear through years of constant use and possible damage. Since thepurfling is added to approximately half the thickness of the edge, it prevents further extension of thepossible cracks that often affects the easily damaged edges of the plates (where the annual rings ofthe wood opens) and hinder the process of their wear from contact with fingers and hands playing.No less important is the aesthetic function of purfling. By emphasizing the form of contour throughit improves the appearance of the instrument, making it more noticeable. The nature of this contourcan vary infinitely, changing the ratio of proportions between the relative thickness of the white andblack stripes from each other and their distance from the outer edge of the instrument.

Carving

Making a violin requires great patience, especially when it comes to progressively reach a certainthickness of the plates, as each piece of wood has its own qualities, being a natural material. Theshaping and thinning of the wooden plates is very time-consuming, their hearing (acousticevaluation) and bending tests (tests for flexibility, elasticity and firmness) until the luthier is beingsatisfied with the reaction (response) of each piece of wood.

When it comes to the shaping and carving out of the two plates - the manufacturer is facing one ofthe most difficult aspects of the development of stringed instruments. One reason for the difficultiesin mass producing violins is the fact that wood never has the same qualities, even neighboring partsof spruce or maple, taken from the very same tree. When tapping the pieces (plates) of wood somepieces vibrate strongly, with long, clinking tone, while other sounds muffled and vibrate far shorter.Of course, there are qualitative differences between the different woods, so using of more solid andheavier species leads to different thicknesses at the ends, unlike the lighter and softer materials.

F – holes

The aesthetics of their shape was inspired by the architecture of the time.

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F- holes, with their curious and apparently ornamental shape, have great influence on the timbre ofthe instrument. They generally provide a link to the volume of air inside the instrument (which hasits own ways of vibration) with the outside air, which is the medium in which the sound wavespropagate outside the instrument. The size and openness of these holes affect greatly the frequencyof vibration of air inside the instrument and therefore selectively reinforce certain frequencies. The f- holes also influence the flexibility of the upper board and accordingly affect the vibration pattern.They are cut with a small fine jigsaw and then round off with an extremely sharp knife.

Bass bar

The bass bar (5) is a relatively long piece of spruce with grain facing the same direction as the topplate grains, glued to its inner surface. It is situated lengthwise beneath the right leg of the bridge,approximately about 265 mm in length. Bass bar must be fit with great precision to fit well inside thetop plate, but opinions vary on whether it should be stuck in some tension or free. The function ofthe bass bar is primarily to enable the right bridge leg to affect a larger area of the upper plate inthe reproduction of low frequencies. Without it the top plate would be affected only in the areabeneath the bridge leg because of its comparative fineness. The mode of vibration of the instrumentat frequencies below 600Hz is asymmetrical, as the sound post maintain a relatively stiff the topplate on the left side of the violin and allows the right side of the bridge to effectively vibrate the lowfrequency zone of the violin, with very large fluctuations (oscillations) though. A secondary functionof the bass bar is to enhance and strengthen the top board against the pressure of the strings. Theshape of the bass bar shall determine the allocation of forces acting on it, and its height and weightstrongly influence the timbre of the instrument, since they both determine the inherent resonance ofthe most active vibrant part of the instrument - the top board.

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Sound post (soul)

The sound post is a cylindrically shaped, small piece of spruce (about 6 mm in diameter for violin),which is fitted inside the instrument between the top and bottom plates. The sound post does notstick (it is not glued), but it is supported in place by the tension in the instrument caused by thepressure of the strings. The main function of the sound post is to strengthen the top board in thehigh frequency zone and to influence the behavior of both plates, to affect the behavior of the twovibrating plates and to counteract the forces acting on the upper plate by the tension on the strings.The sound post is placed inside the instrument with a special tool and its contact surfaces (facingboth plates) are formed gradually so as to meet perfectly the interior surfaces. The position of thesound post and the manner of its placement can greatly affect the timbre of sound and ease ofplaying the instrument. The Italian name of this part is "anima" or "soul" because of its variableimpact on volume and timbre of the instrument.

Head, scroll

The head is probably the only part of the acoustic instrument without certain acoustic features,although it took part in its overall vibration. However, it is an important aesthetic addition to theBaroque concept of the instruments in the violin family. It is an important part of the expression ofthe violin master in terms of style and contributes to the appearance of the whole instrument. Theorigin of the structure and shape of the head can be found in the traditional school of classicalarchitecture, namely the spiral of Vinyola and the spiral of Archimedes.

Set up

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The art of making a Violin

The set up of the instrument includes many aspects, but generally includes the installation of thesound post, the bridge, fitting and shaping the neck, upper and lower nut and shaping and fitting ofkeys. Each sound post has to be treated as unique for each instrument and performer and the samegoes for the bridge. So they both must be fit and constructed to meet both the personal taste of themusician and the behavior of the body of the instrument.The ability of the luthier defines the idealshape, cut and weight of both the bridge and the sound post for each instrument.

Lacquering, varnish

Lacquering the violin has two main objectives. One of them is to penetrate into the wood substancethat can protect it from dirt and sweat. Another aim is to cover the instrument with colored lacquer,which is a purely aesthetic function. Primer (or substance) that closes the timber may have asignificant influence on the behavior of sound through its inevitable impact on the stiffness (rigidity)as the boards and all other parts of the vibrating tool. Color paint on the primer, which is removedand decreases with time, aims to improve the appearance of wood, but can be detrimental to thefreedom of vibration of the boards, especially if applied too thick or very hard. Ideally, the lacquershould be thin enough and light enough to not restrict the vibrations of the instrument. Mythsrelated to the lacquer never cease to inspire the imagination. "Lost Secrets" of the lacquer has a nicecharm for many. The lacquer applied on a lot of classical instruments from the classic CremonaSchool is one of the greatest achievements in the history of the violin. Is it possible or not toreproduce exactly the lacquer of the classic masters is a subject of continuing fierce debate. It isinteresting to note that the term "secret" in Renaissance Italy was not the meaning of the wordtoday,the meaning then was more in the sense of "knowledge"…

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