Violin Forum/Message Board

spystyle · Member Joined: 08 Feb 2008 Posts: 49 Location: Maine, USA

I was afraid you'd say that Smile

byacey · Posted: Sun Mar 30, 2008 3:02 am Post subject:

I find it hard to accept Stradivari as well as many of the other Cremonese and Venetian makers would grind up gemstones to mix into their varnish. Further, I would think that they used relatively easy to obtain, probably local ingredients. World trade wasn't what it is today. Even resins from North and South America probably weren't very well known or in good supply in Northern Italy in 1600 to 1700. Possibly some of the more exotic resins may have been had from the Middle and Far East. To be sure, it probably wasn't any great secret as dozens if not hundreds of makers used variations of this varnish during this era, probably even made by an local apothecary. How much spare time would a man who built an estimated 1000+ instruments in his lifetime using crude hand tools have for procuring ingredients, experimenting with and making varnish?

I was in contact with Nagyvary as well, and he wasn't to forthwithcoming with much information. I do believe the ground does have the most influence on altering the tone of the instrument, and there probably is some basis of truth to Nagyvary's theories, but to claim rediscovery of Stradivari's secret may be sticking his neck out somewhat. There are other skilled, modern makers turning out comparable instruments to Nagyvary's (Which he doesn't build himself from what I understand) that don't use Nagyvary's secret concoction. So, it's up to you to decide where the truth resides.

violinarius · Member Joined: 14 Dec 2007 Posts: 171

violinarius · Member Joined: 14 Dec 2007 Posts: 171

SteveB · Junior Member Joined: 15 Apr 2008 Posts: 1

I don’t think we should forget the architecture of the instrument. The construction of the instrument is much more important then the coating on the wood. Most Stradivarius have had there finish worn, sometimes very unevenly, or have little of the original finish left, or they have been restored with a more modern finish and they still sound great.

I don’t think it is about the finish so much as the actual materials and construction of the instrument. The construction and wood is obviously important, but on thing that, for me always stands out when I look at websites on violins. Most violin makers don’t know how to carve a Stradivari style back.

Almost all violin makers that I have seen don’t carve their backs to properly tune the violin body, there-by making an instrument with uneven sound waves. Because the sound post is not centered in the instrument (nor should it be) the back should not be hollowed out in a symmetrical manner.

The asymmetry of the position of the sound post requires that some wood in the top left inside of the back and a larger section of the bottom right inside of the back be carved out to tune the instrument into producing symmetrical sound waves from an asymmetrical construction.

If you tap the spot where the sound post will touch the inside of the back while carving out the areas I have mentioned you can hear the improvement of tone over a symmetrically hollowed-out back. Since I haven’t seen any information posted on the internet about this technique, I don’t know to what thickness it should all eventually be, I am still searching for that info. In the last 25 years I have only seen one violin maker who knew this technique. It was in Mexico, but he had been trained in Germany. There are probably more of you out there who know this technique; at least I hope there are…

If you ever have the opportunity to see The Great Violin Mystery (PBS, Nova, October 1981) it might be an eye opener for you. It sure was for me. This is where I gleaned the carving info for the back.

Also, if you know of any websites that show the style construction I have described above, please post them here because I can not find any.

Thanks.
Very Happy

_________________
Peace

Andres Sender · Posted: Tue Apr 15, 2008 9:09 pm Post subject:

Steve I'm curious to know what basis in evidence there is for this theory you have adopted about violin back graduation.

Can you point to any published graduation maps of Strad backs to confirm the theory?

A different approach to asymmetrical back graduation appears in an article at the web site of the SCAVM--the Southern California Association of Violin Makers. I mention it not because I think it is valid, but because it sounds like you need much more exposure to ideas in the violin world, so that you can begin to discover that just because it's in print doesn't mean it's true. Wink

Mac · Posted: Mon May 25, 2009 7:22 pm Post subject: The Great Violin Mystery

Does anyone have, or know where I can get a copy of that PBS-Nova program “The Great Violin Mystery” that SteveB mentioned? Thanks!

Remember Christ,
Daniel

Andres Sender · Posted: Mon May 25, 2009 9:12 pm Post subject:

No endorsement implied, but you'll find additional references to the subject of that Nova program (Jack Fry) in this thread:

http://www.maestronet.com/forum/index.php?showtopic=315173&hl=Fry,AND,Nova

Even Mr. Lively, who wrote the SCAVM article linked above, could apparently only get a transcript of the Nova program from PBS. You might try that.