Violin Forum/Message Board

[Dave Chandler]

I've just finished a violin using blueprints of "The Messiah" 1716 Strad, and am going to do another, but here's a question? Should I copy it exactly? In making my mould I discovered one side of the back is not the same as the other (at the widest point in the lower bout, the dimensions from center to edge are about 4mm different one side from the other), so I took one side, and duplicated it for my mould pattern.

I also found the rib height on the original is (from bottom) 31mm, 31.5mm, 32mm, 29.5mm (at neck). Very cumbersome to get this nice and flat, while maintaining these dimensions. I'm tempted to just run it flat from bottom to top, and let the corner blocks come out on a level plane, somewhere around 30.25mm. This does affect the volume of the project, which I've already modified by making the mould symetrical. Is it no longer a copy? When you say you patterned a violin from a specific model, do people expect it to have all the flaws as well?
_________________
Dave in the Blue Ridge
Southern Violin Association

"Success is the ability to go from one failure to the next with no loss of enthusiasm" Winston Churchill

"I took the road less travelled, and now I don't know where I am." Marco Polo

[CT Dolan]

From my observations, the term "copy" is used to mean a lot of different things. In some instances, it means a copy in every respect, tool marks (working methodology) and all. In other cases, it merely means using an instrument as a model.

A strict copy requires a great deal of very detailed research, and most ideally time in front of the original instrument (in fact, I am not sure one could really do a strict copy without studying the original in the flesh beforehand). It also requires a great deal of skill (getting the varnish just right, very deliberate and controlled use of tools, a deep understanding of working methods as practiced in the past, etc). For this reason, genuine copies (one that could fool a marginally well-educated scholar) are quite a rare thing, I would think. Also, with regard to the making of a genuine copy, one must remember that instruments do things (move around a little, here or there) after they've been completed and are put into practice, so this needs to be considered as well (how the original has changed over time...due to design, wood, resortation, or both). So, copies are not for the faint of heart, and do seem a rare thing. I would look upon it as an intellectual exercise, an opportuity to learn, more so than an attempt at perfection.

With regard to using an instrument for a model, that mindest offers quite a lot more freedom in approach. My suggestion would be to adhere to the basic premise of Stradivari's model, the intent. Use the geometric model, the form if you will, and let the instrument take shape around it (as would have been the case with the original). The lack of symmetry you mention will happen by nature, if you allow and are not so rigid in your intent. As for rib heights, I cannot comment because I lack the experience to make a judgement on what to do here. Quite frankly, I find it confusing as well that rib heights often vary as they do, but I do believe that if anything, the height is reduced on the top of the ribs, descending down to the top block. However, historically-speaking, other instruments of the era (the early viols) show this trait, in the extreme, on the back, not the front of the ribs, presumably for greater ease and comfort in playing. So, take your pick! (Time for someone who knows what they're talking about to step in. Michael, some help here, please?)

[rs]

Dave, in answer to your questions, first copy whatever you like. If you want to make the measurements precise, do so. If not, do not. This is up to you and will reflect your own creativity in the work.

As for the rib difference, there are only two straight lines that should be maintained on all violins at all times. One is the line formed where the fingerboard joins the neck. The other is the plane of the BACK where it joins the ribs. It should be one plane from end block to button. This straight line looks best if it is directly in line with the eye of the scroll. If this joint is not one plane, the violin looks bent. If the ribs narrow and are adjusted at the TOP, the violin looks chique.

If you want to follow the rib varieties you described, the best way is make up the difference where it joins the top while maintaining one plane for the back joint.

Best wishes
_________________
Randall Shenefelt

[Dave Chandler]

Great advice, thank you.
_________________
Dave in the Blue Ridge
Southern Violin Association

"Success is the ability to go from one failure to the next with no loss of enthusiasm" Winston Churchill

"I took the road less travelled, and now I don't know where I am." Marco Polo