Posted on January 13, 2010May 27, 2025 by Dale Phillips Letter: Circles in Classical Violin Design Letter: Circles in Classical Violin Design by Jim Blilie Originally published in American Lutherie #89, 2007 Hi Tim, I’m sure Michael Darnton has infinitely more experience with violin design and a much more sensitive eye for the form of violins than I do (See The Power of Circles). That being said, I was really bothered by his article. Mr. Darnton writes that his theory of circles in the design of classic Cremonese violins seems to be the only one that will produce aesthetically pleasing shapes. I have no doubt that circles were used extensively in the design of violins, since they are much easier to draw than parabolic, hyperbolic, or elliptical curves. But he goes on to say that essentially all the extant violins of the height of the Cremonese school do not follow his plan. He posits various reasons for this, but in engineering, if the data don’t match your theory, you go back to the drawing board and find a new theory! Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 13, 2010May 20, 2025 by Dale Phillips Letter: Hardingfele Letter: Hardingfele by Loretta Kelley Originally published in American Lutherie #8, 1986 Dear Editor: In connection with Hardingfele: People who are interested in this instrument might want to become members of the Hardanger Fiddle Association of America (126 S. Thayer Avenue, Sparta, WI 54656) Members receive a quarterly newsletter containing not only informative articles, but sources for instruments and supplies. The book on making this instrument is “Vi Byggjer Hardingfeler”, by Sverre Sandvik, published by Tiden Norsk Forlag, Oslo, 1983, ISBN 82-10-02357-8 (in Norwegian). Irving Sloan writes about making a hardingfele in “Making Musical Instruments”, Dutton, 1978, ISBN 0-87690-293-X. He is interesting, although his guess that the f-holes are bent instead of carved is wrong, and some of his other assertions are just assertions. Some additions to Mr. Peters’ articles: neither of my fiddles have purfling, and I’m not sure I’ve ever seen one with purfling, except converted violins. The traditional carving on the top is usually described as a dragon or perhaps a lion. And many hardingfeles have five sympathetic strings instead of four.
Posted on January 13, 2010May 28, 2025 by Dale Phillips Questions: Full Sized Violin Molds Questions: Full Sized Violin Molds by Henry Strobel Originally published in American Lutherie #58, 1999 Pat Montenegro from St. Angelo, TX asks: Where can I get full-size violin molds? Henry Strobel of Aumsville, OR responds: Most people make them rather than purchase them ready made. My books on violin making should be of help. (For more information on Henry Strobel’s books see reviews in AL#39.)
Posted on January 12, 2010May 29, 2025 by Dale Phillips Review: So You Want to Make a Double Bass; To Make a Double Bass; Double Bass Making Review: So You Want to Make a Double Bass; To Make a Double Bass; Double Bass Making Reviewed by David Riggs Originally published in American Lutherie #71, 2002 and Big Red Book of American Lutherie Volume Six, 2013 So You Want to Make a Double Bass Peter Chandler Peter Chandler, 2001 ISBN 9780968935309 To Make a Double Bass Harry S. Wake Harry S. Wake, 1995 (revised edition) ISBN 978-0960704866 Double Bass Making Bob Hitchings Gwyllum Press, 1999 ISBN 9780953715602 Until recently, would-be bass makers have had only one main source from which to get specific information on making the string bass. Harry Wake has now been joined by two authors who present distinct approaches to the subject. For those who may have been intimidated by the prospect of taking on such a seemingly difficult project, there is now a good deal of help available in these volumes. While it seems unlikely that one without any lutherie experience would tackle a bass as a first project, it is conceivable that one may be primarily interested in this instrument, and it is entirely possible to make a beginning, at least, with any of these books. For sheer detail and volume of information, I would probably pick the Hitchings book over either of the other two, but more on that later. Peter Chandler’s book is the slickest production with 93 pages and 109 figures, more than 20 of which are color photos. At $60US it is also the most expensive of the three. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 12, 2010May 23, 2025 by Dale Phillips Questions: Double Bass External Linings Questions: Double Bass External Linings by Arnold Schnitzer Originally published in American Lutherie #97, 2009 Quincy M. from the Internet asks: Some double basses have what look like external linings, strips of wood on the ribs at the top and bottom edges. Can someone please tell me what the purpose of these strips is and also what they are called? Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
