Violin Forum/Message Board

[Cliff Green]

The two methods I've used for inletting C bout linings are the sqare/recteliniar ends and the tapered ends. While neither mortice is difficult, the tapered mortice seems easier since you only have to make two saw cuts in the block to fully develop the finished mortice and the tapering of the lining can be carried right up to the block. The square mortice requires digging out the mortice and you have that little step where the lining enters the block going from tapered to square.
It seems the square mortice is more traditional especially Cremonese. Is that the only reason to prefer the square over the tapered mortice?

[Michael Darnton]

Guarneri del Gesu used a long tapered point. It goes in as far into the block as normal, but is more like a long three sided pyramid.

What you're trying to do is lock the lining well into the block as reinforcement so that the rib won't break in the c-bout right next to the blocks. Because the extra bending there can weaken the wood, and that's a natural hinge point when you're playing around with the ribs, it's prone to break before anything else. Most Strads have a bit of an original crack in the armpits of the c-bout ribs that you can feel if you put your finger up in there, so even he had a hard time in that spot.
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[jacobyfineviolins]

I love to find that broken, burnt flame in a Strad's treble C bout. Makes me feel good about my workmanship.
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