Violin Forum/Message Board

CT Dolan · Member Joined: 29 Jun 2008 Posts: 143

With regard to adding wood to an instrument, that comment reminds me of a Pietro Guarneri of Mantua violin I was given the privilege to observe (the entire instrument was in pieces - the top, back, ribs, neck and head all being separated from one another). Anyway, the back had the most curious treatment, wood having been added to the interior, THE ENTIRE INTERIOR, as if the whole of the interior carried a verneer!!! What was even more remarkable is that the figure of the wood, both on the inside and outside, were a dead match, making it very easy for one to think it a common piece. How someone actually fitted this piece, with the interior arching and all, is beyond me, but there it was. The instrument was in for some CT scans, to determine the nature of the inner veneer (how thick it was, etc), as well as the nature of the glue boundary that must exist between the two, the outer and inner surfaces.

Strange thing, it was. However, curious though it may have been, the instrument's crowning glory was to be found in the most beautiful ground and varnish I have ever seen! Looking down into the varnish layer (where present), gave one an impression of great depth, especially when viewed in natural sunlight. It was wonderful.

Michael Darnton · Posted: Wed Oct 21, 2009 9:48 pm Post subject:

A good Peter of Mantua varnish is the very best of all, in my opinion.

John Cadd · Posted: Thu Oct 22, 2009 8:25 am Post subject: tapering

This topic is going so well.I am proud of you all. On the subject of books it would inspire any maker or player to read the entry about Stradivarius in the Dictionary of Violinmakers. Just a few short sentences , but I have seldom read anything so eloquent.

Joseph Leahy · Posted: Thu Oct 22, 2009 8:47 am Post subject:

Michael Darnton · Posted: Thu Oct 22, 2009 9:38 am Post subject:

Sorry--I just realized my post didn't make any sense and edited it.

At his best, his varnish is the most visually spectacular. Everything works out right, the ground makes the wood very transparent, and his colors are beautiful. His woodworking is physically beautiful and elegant, but tonally he's not always the most effective.

Joseph Leahy · Posted: Thu Oct 22, 2009 11:54 am Post subject:

Michael, thanks for the clarification.

CT Dolan · Member Joined: 29 Jun 2008 Posts: 143

The arching on the Peter Guarneri (of Mantua) I had the opportunity to view in person was rather high and full, quite similar to the one featured in the Strad poster I have at home. And you are right, Michael, the workmanship was very elegant (very classy work), topped off with the most beautiful ground and varnish, one of great depth and vivid color. Even the bare wood had a shimmer (the ground was breathtaking), and where the varnish remained, it gave one the appearance of a transparent layer seeming to be 1/2" thick, so alive it was. I feel so fortunate to have had the opportunity to view this instrument, as I did for a time, both indoor at the bench and out in full sunlight, to marvel at the finish. The image of it has been seared into my brain and as I had commented to another before, having seen this violin, this finish I am now at least aware of the goal. Getting there might be tough, but at least I know where I'm headed.

mr_violin · Member Joined: 15 Sep 2009 Posts: 52 Location: Chicago

[quote="DonLeister"]Mr. Violin,
Since you asked I recommend Michael Darnton, attend his workshop that Jim Brown, Violinmaker, of Claremont , CA organizes and runs. Michael is a well known, active violin maker- not an anonymous, online, verbose armchair violin expert of which there are plenty of.
The workshop will save you valuable time, makers of may different skill levels go there, Jim makes things run super smooth and Michael is just a great teacher, he'll teach you from where you are at. You'll meet a lot of great people that love to make violins and talk about it. At age 54 you'll want to learn efficient methods of working that will not cause problems for your body
(I'm 50, I've made 40 or so instruments and gaining speed).
If the workshop is not possible then try to read Michael's posts, he has been very helpful over the years.[/quote]

I realy can`t make it to the workshops at this time. I do read anything I can find that Michael posts . I do have an opportunity to go see Michael and talk to him. I only live 20 miles from his shop.
I only think it best for me to learn all I can on my own befor I go wasting his time with things I can do for myself. I think I will still learn a lot from the violins I am repairimg and rebuilding . I still have to get the strad magazine posters and study them. Also I am still getting together more of the tools I need.

But thanks for all the help !!!!

Michael Darnton · Posted: Sun Oct 25, 2009 10:03 am Post subject:

Come visit any time! I never mind having visitors.

mr_violin · Member Joined: 15 Sep 2009 Posts: 52 Location: Chicago

Thanks, I will do that. I have been sick for the last 2 weeks ,now my kids are sick. I better wait till this flu thing is over. I`ll give you a call .

John Cadd · Posted: Fri Nov 06, 2009 6:06 pm Post subject:

R S Going back to the metallic sound you achieve before applying varnish ,I was struck by the sound of a violinist this week playing a concerto (radio) and how it sounded.Really metallic and not to be confused with the sound some steel strings make.
There is a u tube about a carbon fibre violin which sounded as if it needed some varnish too.That did not sound nice at all.But then how would you put varnish on that ?