Check out our Forum Rules. Lets keep this forum an enjoyable place to visit.
Log In
Register
Home
Topic RSS
(0 votes) 
Offline
So Im confused on all the different makes and styles of violins available now. For instance, there is a Lord Wilton, a Cannone, the Red violin (cant remember the exact name) and so forth.. I understand whats out there are copies of famous violins but were measurements different on each? Different wood tops and or backs, different bracing? In the guitar world for instances as you move up through say Taylors line of guitars each series is made with certain tops and backs so once you get it they usually dont change. Is there a cheat sheet to wade through and understand the differences other than this one has this name because it looks like such and such famous violin? Or did current builders actually take measurements or use old plans from the famous luthiers to build current production violins? Im looking to upgrade. In fact Im on the list for a demo video with fiddlerman. In the end it probably doesnt matter Im just curious about the tech spec sorta thing if there is such a thing. Probably secret sauce though 🙂 But any insight would be appreciated.
Happy Fiddling!
Greg
Regulars
Offline
With the famous violins, the internal structure is identical, but the measurements are slightly different and the shapes of the tops and backs vary a little. Here's an article that mentions the evolution in the shapes of Stradivari's own violins over time.
http://darntonhersh.com/a-viol.....tradivari/
With modern-day copies at the workshop level or higher, I would assume luthiers copy the dimensions and shapes. But that may not always be true with factory instruments; many factories may use a standard pattern and simply varnish the violins differently to match the appearance of the famous violin being copied.
Regulars
Offline
It's a nice idea but I've never seriously thought about buying one, as you'd have to have all dimensions the same as the original, including all of the wood thickness profiling. So all internal and external dimensions. Some kind of holographic laser measuring device would be nice. But then a luthier would have too little to do, as by then some kind of CNC machine would carve all the wood. Maybe that happens already, no idea, just musing. And of course you'd need to know Stradivari's secret varnish formula. I NEED MORE ANCHOVY OIL!
I always wanted to be a juvenile delinquent but my parents wouldn't let me.
Offline
So when these makers made their violins back in the day, they were made by plate tuning and feeling. They did not try to create each and every violin exactly the same. Some makers were more consistent.
The nicknames are not really that important IMO. The maker, wood selection and quality are way more important. Obviously one can not deviate in design and graduation too much without affecting sound quality but these instruments are close in both graduation and dimensions anyway.
The nicknames are only relevant because those violins are so successful that they were purchased and played by great players.
"The richest person is not the one who has the most,
but the one who needs the least."
Online
GregW said
..... In the guitar world for instances as you move up through say Taylors line of guitars each series is made with certain tops and backs so once you get it they usually dont change. .....Happy Fiddling!
Greg
ROFL - so sorry @GregW - I'm afraid the mere mention of Taylor Guitars brings this back to mind, every time.... ( I own one ) -
I seriously recommend not copying my mistakes. D'oh - 
Please make your own, different mistakes, and help us all learn :-)
Regulars
Offline
This topic was discussed at length under the “violin metrics” thread.
Research is what I’m doing when I don’t know what I’m doing. —Werner von Braun
I consider any plane that I design a success if it rises high enough to crash. —RA Heinlein
Offline
BillyG..humor appreciated! Makes day enjoyable. Im suspecting that singer didnt like taylor anyway 😉
Gotcha Irv I will search through those!
Andrew I read the article. Interesting to me on the history involved. But its given me another internet rabbitt hole to venture into. Heading there after this...lol
Still not quite understanding all the branding and how one vs another gets a name and the other doesnt. Ill read through more of the forum postings and see whats there. Its all just curiosity stuff anyway. 🙂
Thanks all,
Greg
Regulars
Offline
Fiddlerman said
when these makers made their violins back in the day, they were made by plate tuning and feeling. They did not try to create each and every violin exactly the same.
Yes, I think this is the most salient point.
I always wanted to be a juvenile delinquent but my parents wouldn't let me.
Regulars
Offline
My impression (and I may be wrong) is that Strad copies commonly replicate the external dimensions only, not the plate thicknesses, because every piece of wood is necessarily different.
As for Stradivari's "secret"... I'm increasingly in the camp of Joseph Nagyvary, who concludes that the sound of old Italian violins was merely a result of the way lumber was typically transported at the time: logs were tied into rafts and floated down rivers, spent a lot of time in water, and had minerals deposited in the wood. Nagyvary has had impressive results with wood salvaged from the bottom of Lake Michigan. His best violins sound remarkably like Guarneris -- they're even indistinguishable with FFT analysis.
Offline
Gordon Shumway said
Yes, I think this is the most salient point.
Thanks Gordon and fiddlerman...I didnt pay close enough attention to the plate tuning statement and should have. Glad you posted that Gordon. Thats where the specs answer will be Im suspecting along with some of the history that Andrew pointed out. Interesting stuff to me how all these instruments came to be.
Regulars
Offline
AndrewH said
My impression (and I may be wrong) is that Strad copies commonly replicate the external dimensions only, not the plate thicknesses, because every piece of wood is necessarily different.As for Stradivari's "secret"... I'm increasingly in the camp of Joseph Nagyvary, who concludes that the sound of old Italian violins was merely a result of the way lumber was typically transported at the time: logs were tied into rafts and floated down rivers, spent a lot of time in water, and had minerals deposited in the wood. Nagyvary has had impressive results with wood salvaged from the bottom of Lake Michigan. His best violins sound remarkably like Guarneris -- they're even indistinguishable with FFT analysis.