About the Author

Bruce Ossman was born in Schuylkill County, Pennsylvania, 200 years after the death of Stradivari. Bruce partially attributes his interest in art and music to family members: His mother was a pianist, a grandfather played an instrument called a mandolin harp, and his father was a coal miner who took up oil-painting while recovering from a cave-in. His architect brother also played a part. Whenever the two of them sat down to discuss things, they always made drawings to illustrate ideas—a process Bruce still uses. While growing up, Bruce did work harvesting crops on family farms and spent a few summers working deep underground in an anthracite coal mine in spaces too low to stand up—which may be why his present house has some ceilings 16-feet high.

While attending Penn State University, Bruce took advantage of all the wonderful arts programs. When he heard the Curtis String Quartet play “Adagio for Strings” by Samuel Barber, he fell in love with the violin. Bruce graduated in 1959 with a degree in biology.

Mining was too dangerous, so Bruce joined the Army. While serving two years in Okinawa as a radio technician, he developed an admiration for all things Japanese, eventually trying his hand at bonsai. After returning from the service, Bruce taught middle-school science until 1993.

Upon his retirement, he had time to pursue his interest in music. Bruce decided to make a violin after going through all the back issues of Strings and Strad magazines in the West Chester University library. Some of the traditional methods of violin making seemed needlessly complicated, so as he worked, Bruce tried to simplify things. The sketches he made to guide his thinking resulted in the first edition of this book. Since then, a violinist has played the Bach “Chaconne” on Bruce’s first violin.

After finishing his first violin, Bruce brushed up on musical theory by learning to play a soprano recorder; then he progressed to fiddling. He found that playing a violin is much harder than making one! But practicing on a self-made instrument was very rewarding and a great incentive to continue on his musical journey. Other hobbies include traveling and woodworking. Bruce has drifted down the Susquehanna River on a homemade kayak, ridden a motorcycle across Europe, and driven coast-to-coast several times. He’s always kept an aquarium, and is a life-long birder—he’d like to be reincarnated as a purple martin. As an amateur craftsman, he’s made such things as a Newtonian telescope, a working model of a trebuchet, and a crossbow. A still-unrealized goal is to build a glider big enough to fly in—but that would probably be a final project.

Bruce has enjoyed getting to know some wonderful people who’ve started in the great art of violin making. Some have gone on to more advanced levels, and that’s even better! (See the gallery on pages 14–23.)

Bruce and his wife, Martina, live in Chester County, Pennsylvania, midway between West Chester (the hometown of Samuel Barber) and Chadds Ford (Andrew Wyeth country). Their son and daughter-in-law live in Manhattan.

A Preview of the Building Process

Reading all of the directions and studying the patterns before starting will give an overview of how the pieces are fashioned and how they fit together.

First, a body form is made from plywood. This mold will be used later when the blocks and ribs are temporarily fastened to it to establish the basic shape of the body.

Next, the main pieces are precut. The parts that can be prepared beforehand include the corner and end blocks, ribs, top and bottom plates, neck/pegbox/scroll block, and bass bar. The pegs, tail-pin, tailpiece, fingerboard, bridge, ribs, and purfling can be purchased ready to use.

Access to a band saw and drill press is useful, but common hand tools will suffice. Since a violin is mostly carved to shape, gouges and a thin-bladed knife are essential. Directions are given for making a carving turntable (page 42), rib-shaping forms (page 38), and simple clamps (page 43).

When the materials and tools have been prepared, the following steps can be followed. They form a logical sequence, but sometimes it is possible to change the order or do several things concurrently:

1 Body form. The corner and end blocks are tack-glued to the body form.

2 Pre-shape ribs. The ribs are pre-shaped by laminating thin veneer strips around forms OR by bending thin strips of maple over a heated metal bar (pre-cut maple ribs and electrically-heated bending irons can also be purchased).

3 Attach ribs. The shaped ribs are glued to the blocks on the body mold.

4 Trace plates. After the ribs are trimmed, the mold/block/rib combination is used to trace the proper shapes onto the boards that will form the top and bottom plates of the body.

5 Cut neck opening. An opening is cut into the front block and rib. This is where the neck will be attached later.

6 Remove body form. The body form is removed—leaving the shaped block/rib structure.

7 Attach linings. Strengthening linings are glued to the inside edges of the ribs.

8 Cut plates. The top and bottom plates are cut to shape with a band saw or coping saw.

9 Shape outsides of plates. The plates are fastened to the carving table, and the outside surfaces are gouged and scraped to the proper arched shape.

10 Hollow undersides of plates. The undersides of the plates are hollowed so that they become thin enough to vibrate easily. A choice can be made to leave enough wood under the top plate to be formed into a bass bar instead of gluing on a separate one.

11 Carve sound-holes. The sound-holes are then carved into the top plate. **The purfling can be installed now, if desired, instead of at Step 23. However, Stradivari did it later in the process, and that is the way this book is organized.

12 Form bass bar. The bass bar is glued to the underside of the top plate or shaped from the wood left there.

13 Cut end rest opening. An opening is cut into the rear of the top plate to receive the end rest at a later time.

14 Attach top plate. The top plate is glued to the rib/block/lining structure.

15 Shape neck unit. The large maple block is marked and sawn to start the shaping of the neck/pegbox/scroll unit. Guide holes are then drilled to mark the locations of the four pegs.

16 Carve scroll. The scroll is carved with a small saw, knife, and gouges.

17 Hollow pegbox. The pegbox is hollowed with a knife and chisel, using a template to determine the depth.

18 Shape neck base. The base of the neck is shaped to fit into the opening that was previously cut into the front block of the body.

19 Tack-glue fingerboard. A fingerboard is shaped or purchased and temporarily tack-glued to the neck.

20 Attach neck. The neck is glued into the body opening and the base of the neck cut level with the bottom of the rib and front block.

21 Attach bottom plate. The bottom plate is body opening and the base of the neck cut level glued to the body and the base of the neck.

22 Attach end rest. The end rest is glued into place at the rear of the top plate and carved into shape.

23 Add purfling. Purfling strips are made to fit into grooves along the plate edges and glued in place. **The purfling can also be installed earlier on in the process around Step 11. However, Stradivari did it at this point, and that is the way this book is organized.

24 Shape pegs. The pegs are shaped to match the taper of the reamer.

25 Ream peg holes. Tapered peg holes are reamed into the pegbox guide holes.

26 Attach nut. The nut is glued to the front edge of the fingerboard. After it is shaped, small nicks are made for the strings.

27 Varnish. The fingerboard is removed, and the violin is given a final smoothing and is varnished.

28 Insert sound post. The sound post is inserted through the treble-side sound hole.

29 Shape bridge. A pre-formed bridge is shaped to fit on the top plate between the sound holes.

30 Finishing touches. The fingerboard, tail pin, tail piece, and strings are added. The position of the sound post is adjusted for best performance.

GALLERY

A beautiful handcrafted violin is a wonderful project to complete and admire. In the following pages, the work of five luthiers is displayed to inspire your own work. The violins that started it all—Bruce Ossman’s own—are pictured on pages 16-17. Don Homan, a retired physicist, began building violins as a hobby using the first edition of this book (page 18). Andrew Sutherland is a professional luthier living in England (page 19). Peter Gallant, another reader of the first edition, specializes in crafting violins from exotic and unusual woods (page 20-21). Mark Wilcox is a furniture maker who decided to try building violins after reading Bruce’s book (page 22-23). No matter what walk of life you come from, there is someone here to inspire your work. Check the Resources on page 102 for the gallery artists’ contact information.

One of the author’s violins nestled in a found sculpture—a natural piece of wood shaped entirely by fire, time, and weathering. The fit is so perfect that they are now displayed as a permanent unit.

BRUCE OSSMAN

These photographs show the author’s own violins.

Top plate, quarter-cut Douglas fir.

Bottom plate, slab-cut maple.

A second violin: laminated mahogany veneer ribs and Douglas fir belly.

Violin on an antique music stand.

Maple scroll. Black-stained maple fingerboard.

Right to left: Building form, completed block/rib unit, gouges, rib-forming molds.

DON HOMAN

Don Homan, a retired physicist living in California, began making violins after receiving a copy of the first edition of this book for his birthday. He is now constructing his 12th violin and plays his creations with the San

Homan’s first and second violins.

Ribs with corner blocks.

Scroll and neck under construction (left). The inside of the violin under construction (right).

Reader Don Homan’s first completed violin, shown with the only resource he used—the first edition of Violin Making.

ANDREW SUTHERLAND

Andrew Sutherland is a luthier from the United Kingdom. His business, Steep Hill Strings, has provided violins played by students from prestigious schools all over the UK.

Interpretation of the Lord Wilton violin as played by Yehudi Menuhin. Seated on the steps outside the artist’s workshop.

Corner detail.

A scroll of the artist’s own style.

Another Lord Wilton model, halfway through the varnishing process prior to neck fitting.

PETER GALLANT

Peter Gallant is a resident of Maine. His violin-making business, Unique Fiddles, specializes in crafting violins from unusual woods. He began making violins after reading Violin Making: A Guide for the Amateur.

The Mezzo violin is comparable to the full size 4/4 violin in tuning, playability, and string stop length. It is the third smallest in line of a family of eight violins. This Violin Octet is a consort of violin family instruments of graduated sizes, one at each half octave, from a seven-foot contrabass to a tiny treble violin tuned an octave above the standard violin.

This Mezzo is a copy carved by Peter Gallant according to Dr. Carleen Hutchin’s design and tuning methods. The body length is 385mm, the widest section is 233mm, and the overall length is 615mm. The top is spruce (left).

Tiger maple back, mezzo violin (right).

Scroll, mezzo violin.

Side, mezzo violin.

Bubinga back plate and sides (left). Fir top plate. Maple neck. Ebony pegs, tailpiece, and fingerboard (right).

Figured cherry back plate (left). Fir top plate. Rosewood pegs and tailpiece. Maple neck. Ebony fingerboard (middle). Figured cherry sides (right).

MARK WILCOX

Mark Wilcox, a furniture maker from Marion, Kansas, began crafting violins using the first edition of this book. He has become a violin-maker of note (www.wilcoxviolins.com) and is a member and past board member of the Violin Makers Association of Arizona International. Mark advises new luthiers to practice installing purfling on dummy poplar corners. The use of traditional hide glue will cause the purfling and purfling groove to swell and create a nice tight fit.

European spruce front plate.

Ebony fingerboard and tailpiece (top). Curly maple scroll with ebony pegs (bottom).

Tiger maple back plate featuring fiber purfling (top). The wood of the ribs and back of this violin are from Oregon (bottom).

Englemann spruce front plate.

European spruce front plate.

Curly maple scroll with ebony fingerboard and pegs.

European maple back plate with curly maple neck and scroll.

CHAPTER 1:

BACKGROUND and STRUCTURE

Background on the Violin

The violin evolved in Renaissance Italy with many luthiers contributing to its development over a long period. It has been suggested that Leonardo da Vinci, whose broad studies encompassed musical instruments, may have played a key role in establishing the basic design.* By the time of such masters as Amati, Guarneri, and Stradivari, the violin had assumed physical and acoustic characteristics that were nearly identical to those of the violins being made today. It is commonly believed that violins of that time have never been surpassed in beauty or performance.

Structure of the Violin

Like any musical instrument, the violin is a device used to produce and amplify pleasing sounds. Essentially, it is a lightweight but strong wooden box with an extended neck on which are mounted four tensioned strings. These strings are caused to vibrate primarily by drawing a wooden bow strung with horsehair across the strings and sometimes by plucking the strings with fingers.

Either by conscious design or the result of form following function, the violin somewhat resembles the human body. Many of the terms used to describe the parts of a violin reflect that fact. Some early instruments even featured carved representations of human faces at the end of the neck, and the scroll, also found there, may symbolize human hair. The corpus (body) has the shape of a torso with a narrow center bout or waist, an expanded lower bout (hips), and a narrower upper bout (shoulders). The belly (top plate) and the back (bottom plate) form very complex arching shapes. The belly is made from spruce or pine and is carved on both surfaces so that it is reduced to a thickness of just a few millimeters. Two elegant f-shaped sound holes are cut through each side of this plate in the waist area. The back plate varies in thickness from approximately 5 millimeters in the middle to about 3 millimeters at the edge. It is usually made from maple although other hardwoods are sometimes substituted. The curved ribs (sides) are 2 millimeter-thick pieces of maple that have been bent to shape. The ribs are strengthened at the inside edges by pine lining strips. Small blocks of pine or spruce reinforce the front and back ends of the body and also the four corners. A narrow groove is cut close to the edges of the belly and the back plates in order to hold decorative and strengthening strips of wood known as purfling.

The neck, fastened to the upper end of the body, is usually cut from a block of maple. Its far end opens into a pegbox that is terminated by the gracefully carved scroll.

Ebony, either solid or veneered, is the traditional wood for the curved fingerboard that is glued to the top of the neck and extends toward a point near the forward ends of the f-holes. The small raised nut at the upper end of the fingerboard, the end rest at the back of the body, and the tuning pegs are also made of ebony or a similar hardwood. The four strings, once made of sheep gut, are now usually metal. They extend from the tuning pegs over the rounded nut that holds them slightly above the fingerboard, to the curved upper edge of the bridge, a thin piece of maple standing upright on the belly. Only the downward force of the strings holds the bridge in place. Each string is fastened at the other end to an ebony or plastic tailpiece that is tethered by heavy gut or nylon cord to an ebony tail pin at the lower end of the body.

When the strings are brought up to pitch (G, D, A, and E) by turning the pegs, a total longitudinal force of over 50 pounds is created. There is a downward force of about 20 pounds acting through the bridge to the belly plate below. This downward force would cause the belly to collapse were it not for the strengthening bass bar. This is a long, narrow strip of spruce or pine glued lengthwise to the underside of the belly below the bass string foot of the bridge. Under the treble-string foot a thin spruce rod known as the soundpost is wedged in an upright position between the belly and back plates. The sound post serves as a compression strut and also as a fulcrum for plate vibration. With the exceptions of the soundpost, tuning pegs and the bridge, most of the violin parts are held together with glue. In some early violins, nails helped to secure the neck to the body.

Acoustics of the Violin

The acoustics of a violin are very complex and seemingly mysterious, but as in any musical instrument, the laws of physics determine the sounds produced. A string is set into vibrating motion by drawing the horsehair of a bow across it at a short distance forward from where the string crosses the bridge. The string vibrates in a horizontal plane at a certain resonant frequency that is dependent on the string’s length, tension, and mass. A finger pressing a string against the fingerboard shortens the length of the vibrating string—thus raising the pitch. In addition to the string’s main resonant frequency, there will be a large number of partial waves (overtones or harmonics). All the sounds produced by the violin must originate from these string tones or overtones. However, since the string has a very small surface area, it is not able to transfer much sound energy directly to the air. The violin transfers the very weak, almost inaudible vibrations of the strings to much larger surfaces that will amplify the sound by setting more air into vibration.

The outside surfaces of the plates generate most of the sound. The f-holes serve to create an area of weakness in the belly so that its center section vibrates more easily. When the string vibrates in its horizontal plane, some of its energy is transferred to the bridge, which is forced into a rocking motion around its vertical center line. The bridge transfers some of the force through its two widely spaced feet to the belly. Since the feet of the bridge do not leave the top plate, the belly is forced into a complex, twisting motion. Some of this energy is carried to the back plate through the sound post and ribs. All the vibrating parts then generate sound waves that travel through the air.

The transfer of string vibration into the forced vibration of the violin parts is not the only factor in the production of sound. If that were the case, all the tones and harmonics generated by the string would be projected equally. However, just as each string at a certain length and tension will have its own resonant frequency, so will each component of the violin. Even the air inside the body will resonate at a certain frequency. When energy is transferred through the bridge to the violin body, most of the instrument is forced into non-resonant vibration. If a particular part of the violin happens to have a natural resonance that is the same as a tone produced by a string, that sound will receive greater amplification. If no part of the violin has a natural resonance that matches a particular string tone, then that tone will sound relatively weak. The perfect violin would be 100% efficient in transforming all of the energy provided by the player into sound and it would amplify every tone and harmonic equally. Such a flawless acoustic violin has never been created.

The “old masters” did not achieve perfection, although they came wonderfully close. Violins, even from the same maker, often show variations in plate thickness from instrument to instrument, probably as a result of a continuing attempt to balance tonal response. Modern acoustical engineers, when designing “high fidelity” stereo systems, combine electronic woofers, tweeters, and mid-range speakers to accomplish full-range reproduction of sound. In much the same way, most violins, ancient and new, show thickness variations within each plate in an attempt to produce resonance in as many frequencies as possible.

Although the method used to build a violin today is essentially the same as it was in the past, historians disagree about the sequencing of the steps involved. The Renaissance era masters, using only hand tools, achieved wonderful results. Perhaps because of their desire to protect trade secrets, they left few written records. In classic violins, the thin ribs and linings were probably bent to the desired curves after first being heated. The ribs were then temporarily fastened to a form, or mold, and strengthening linings were glued into place on their inside edges. As the top and bottom plates were carved to shape with gouges and scrapers, their thickness was measured with calipers. Rapping the plates with a knuckle gave certain “tap-tones” by which the masters determined when the carving was finished. Many modern makers still use these methods, but power tools now speed up the carving and, sometimes, the plates are “tuned” with the aid of electronic devices. In the earliest violins the base of the neck was shaped to fit the outside surface of the front ribs. In addition to glue, Stradivari also used three nails driven from inside the front block into the base of the neck to help secure the neck to the body. In modern violins, the neck-to-body joint is made stronger by “dovetailing” the heel of the neck into a tapered opening cut into the upper ribs and block. Most likely, no one uses nails any more, but one or more small screws in addition to glue can make the neck-to-body joint very rigid.

Dense, fine-grained “tone woods” have always been highly prized for the brilliant sounds they produce. Maple and spruce have been the traditional woods, but today, some makers are experimenting with substitutes, such as cherry, birch, mahogany, walnut, and bubinga.

There is much speculation about secret varnishes that supposedly gave the old violins their distinctive sound. In reality, a violin is often at its best without any varnish at all. Varnish does protect the surface from the elements, but the real challenge is to find a finish that is the least damaging to the sound quality.

The slight changes evident in modern violins were brought about mostly by the standardization of musical notes at higher frequencies than were the fashion in earlier times and by the increase in average human stature. Violin necks became longer and were attached at an increased angle to the body. Higher string tensions necessitated the stronger dovetail joint between the neck and the body. Because of the changed neck angle, a higher bridge was needed and that caused an increased downward pressure on the top plate. A heavier bass bar had to be added to prevent the collapse of the instrument.

As a result of these changed requirements, it is very rare to find an ancient instrument that is still in its original condition. Most old violins have been taken apart and refitted with new bass bars, necks and fingerboards. In some cases, restorers have even had the audacity to change the thickness of the plates. In addition to these modifications, the wood itself has undergone chemical and physical changes. The passage of centuries has exposed instruments to deterioration caused by oxidation, humidity, temperature extremes, insect attack, and accident. Constant string tension for hundreds of years has caused many violin plates and ribs to deform or even crack.

The violin is a functional piece of art. Whether you choose to use ancient or modern building techniques, the end result will be aesthetically pleasing.

Because sophisticated measuring devices did not exist until recent times, it can’t be determined if the performance of a classic violin is better or worse today than when it was first created. It is likely that its sound has changed. Some violins made today are just as good if not better than those made by the old masters but these too will change over time. We now have the means to detect and measure any changes that do occur.

_____________

* For more information on this theory, see Robert Zuger’s listing in Resources, page 102.

CHAPTER 2:

PREPARATION of MATERIALS

The process of building a violin begins with preparing the materials needed. This chapter illuminates what you will need to create your violin and what you need to do before you can start crafting your instrument.

When you finish reading this chapter, you will know how to complete the building form and rib-forming molds in preparation for forming the block/rib unit. Top to bottom: Building form, completed block/rib unit, gouges, rib-forming molds.

Recommendations

Violin makers today tend to be very conservative and many feel that an instrument must be made with exactly the same materials and methods established centuries ago. These makers go to great lengths and expense to obtain the finest maple, spruce, and ebony. The gouges, hand saws, finger planes, and building forms must be the same as those used by the old masters. Even the presumed sequencing of steps in the building process is duplicated as closely as possible. They do much research into trying to uncover the long lost secrets of wood treatment and “tone-enhancing” varnishes.

All of these things are of great interest to historians or professional luthiers, but for someone attempting a first violin without benefit of apprenticeship under a master, these details can be intimidating. Building a violin entirely in the traditional manner may indeed yield superior results, but a good first instrument can be made with modern tools, less expensive materials, and a few changes in technique that simplify some of the procedures.

The directions in this chapter and the next will enable you to make a violin in a logical sequence, beginning with the preparation of materials and continuing with step-by-step procedures in shaping and assembling the parts.

You may choose to make a violin entirely with hand tools, but if you have access to a band saw and a drill press, the work will be much faster.

Figure 2-1

Making the curved violin ribs and linings has always been one of the most difficult stages of building. In this plan, the ribs and linings will be easily laminated from strips of ¹/₃₂” maple, birch, or mahogany veneer. However, if you are experienced in the heat-bending of wood and you prefer the traditional method of rib making, quarter-cut maple can be planed down to a thickness of ¹/₁₆” and then bent to shape over a heated metal bar (see Bending ribs with heat, page 100). Whichever method you use, the finished ribs will be glued to the corner and end blocks that are held in place on a slightly modified Stradivari-type building form (Figure 2-1). The only significant changes in the form are in the area where the corner blocks are temporarily attached.

They will be set deeper into the form (mold) so that gluing the linings to the ribs will be much easier. Small “C” clamps are usually used to hold the blocks and ribs to the mold during gluing but these expensive items can be eliminated by using wooden dowels and elastic bands.

It is not advisable to buy costly “tone woods” for a first violin. If you search through stacks of spruce and maple boards at your local lumber yard, you will eventually find some well-seasoned quarter-sawn planks that can be used for the top and bottom plates. Ebony is expensive and possibly toxic to work with; instead, hard maple can be used for making the fingerboard and some other fittings.

To shape the plates you will need scrapers and gouges (#5 sweep in ¾” and ¼”sizes would be good choices). A carving knife with interchangeable small blades and gouges will be needed to carve the f-holes and the scroll.

Luthier’s clamps are simple to make from carriage bolts, wing nuts, and dowel rods. If available, spring clamps are preferable because they are much faster and easier to use.

Hundreds of modern glues exist and many of them are stronger than the wooden parts they join. However, old-style hide glues are still recommended for joining the plates to the ribs and the fingerboard to the neck, as sometimes a violin must be taken apart for repairs.

In most violins, the bass bar is a separate piece of wood that is carefully shaped to fit the inside surface of the belly plate before it is glued in place. In the building process described here, a choice can be made to shape the bass bar during the plate hollowing process so that it becomes an integral part of the belly. This is easier to do and it will never vibrate loose.

Many modern luthiers recommend that the neck be fitted into the body after both the top and bottom plates are glued in place. This is extremely hard to do because of the dovetail joint. Stradivari’s violin necks are secured from inside with nails which shows that he did not favor that practice. In this plan, the belly plate is first glued to the ribs, then the neck is fitted and glued. A single reinforcing screw replaces the Stradivarian nails. After the heel of the neck is cut to the correct length, the bottom plate is glued on to close the body.

Measurements in this text alternate between the metric and the English systems. By tradition, the dimensions of individual violin parts have long been given in metric units. Unfortunately, the U.S. continues to produce tools and materials based on the old English standards. Thus, the carving turntable requires ¾” plywood, a hole drilled in the front block is made with a drill bit, veneer sheeting is usually ¹/₃₂” thick, the back plate varies in thickness from 2.9 mm to 4.4 mm and the end rest is 4.0 cm long.

Even though the basic design of the violin has been fixed for centuries, there is still room for experiment and possible improvements. For example, some avant-garde violins being made today have wildly asymmetrical shapes. Electronic violins are in a separate class entirely.

Modifications

You will probably make more than one violin and you may eventually decide to examine such ideas as:

1 What happens to a violin’s performance if the bass bar shape is modified (Figure 2-2)?

2 An internal brace between the top and bottom blocks would add longitudinal strength and allow the plates to vibrate more freely, but the extra weight would be prohibitive (Figure 2-3).

3 Could the design of the bridge be simplified and improved? Decreasing the mass at the top of the bridge might permit a faster response to string vibration (Figure 2-4).

There are many other subtle changes you will want to make on a second or third violin. Perhaps you will be the first to create the perfect acoustic instrument, one that reproduces all frequencies equally well. First, it will be informative to build a violin in a traditional way.

Figure 2-2

Figure 2-3

Figure 2-4

The Body Form

1 The ribs (sides) of the finished violin will taper slightly from back to front. Obtain two ⅝” thick boards with the dimensions shown in Figure 2-5. The bottom board should be warp-resistant plywood. The top board must be wood such as pine that can be planed so that the front edge of the combined boards is 1³/₁₆” thick.

2 Transfer the full-sized pattern for the body form to the surface of the top board (Figure 2-6). Do this by gluing the pattern to the wood or tracing through carbon paper.

3 Use “C” clamps to temporarily hold the boards together. Drill guide holes for six 1” flat-head screws at the points marked “X” on the pattern. Countersink the heads so that they will not project above the surface of the form. Turn in the screws to lock the boards together. Remove the “C” clamps.

4 Drill the eleven ½” holes through both boards.

5 Drill ¼” holes at the eight corners marked “A”.

6 With the boards still fastened together, use a band saw with a ⅜”-wide blade to cut around the outer shape of the form.

7 Remove the 6 screws and separate the 2 halves of the form. Drill and tap two holes for ⅜” x 20” x 1” machine screws at points “B” in the top plate only (Figure 2-7)!

8 Reinsert the 6 flat-head screws and lock the two halves of the form together.

9 Mark the top half of the form “belly” and the bottom half “back.”

Figure 2-5

Figure 2-6

Figure 2-7

Corner and End Blocks

From close-grained pine or spruce, cut four corner and two end blocks to the dimensions shown in Figure 2-8.

Figure 2-8

Rib Forms

Cut the lower bout, center bout, and upper bout rib forms from 1⅜” thick slabs of wood (any type) to the shapes shown on the patterns (Figure 2-9). Do the cutting on the curved solid lines with a band saw.

Figure 2-9

Bending ribs can be done with heat. If you choose that method, you will not need to make rib forms. See appendix, page 84.

Veneer Rib’Strips

Cut ⅜” wide strips from straight-grained ¹/₃₂” thick mahogany or maple veneer (Figure 2-10). The cutting can be easily done with a band saw. Lacking that, place the veneer sheet flat on a glass surface and cut downward with a thin, sharp blade. A total length of about 156 inches is needed.

Figure 2-10

Veneer Lining Strips

Cut ¼” wide strips from the ¹/₃₂” veneer sheet. A total length of about 240 inches is needed (Figure 2-11).

Figure 2-11

Dowels Used in Body Form

Cut four 3” lengths of ⁷/₈” dowel and eleven 3” lengths of ½” dowel (Figure 2-12).

Figure 2-12

Top (Belly) Plate

Choose a 9” wide, close-grained, quarter-cut, knot-free pine, spruce, or Douglas fir board. Have it planed down to a thickness of ⅝” (Figure 2-13).

If a 9” wide board cannot be located, two smaller width, quarter-cut boards must be glued together (Figure 2-14). Quarter-cut, also known as quartersawn, wood is cut by first quartering the log. The sections are then sliced perpendicularly to the rings of the log. This creates interesting figure in the wood. Slab-cut boards are made by slicing the entire log in a stack (Figure 2-15).

Figure 2-13

Figure 2-14

Figure 2-15

Bottom (Back) Plate

The best wood for the back is quarter-cut maple. Slab-cut maple may be used for the back, but it must be a single board for best appearance (Figure 2-16).

Figure 2-16

End Rest

Cut the end-resat block from ebony or hard maple (Figure 2-17).

Figure 2-17

Neck/Pegbox/Scroll Block

Cut a piece of straight-grained maple (quarter-cut wood is best) to the dimensions shown in Figure 2-18. Two pieces of ¾” wood may be glued together to give the required 1½” thickness. This has the double advantage of adding strength and providing a needed centerline.

Figure 2-18

Fingerboard Blank

Purchase a partially-shaped ebony fingerboard or cut hard maple to the dimensions shown in Figure 2-19.

Figure 2-19

Nut

Cut a piece of ebony or hard maple to the dimensions shown in Figure 2-20.

Figure 2-20

Purchased Items

The tuning pegs, tailpiece, tailpin, bridge, and purfling strips are usually purchased in a finished or semi-finished condition.

Carving Turntable

Fashion the device shown in Figure 2-21 to hold the top and bottom plates during the carving process. The bolt can be of any diameter but must be long enough to pass through a hole drilled in the top of your workbench. A star knob at the other end is most convenient but a large nut or wing nut will work. The two flat-head screws which penetrate from the bottom must hold the plate securely but must not be so long that they pierce the top of the plate.

Figure 2-21

Luthier’s Clamps

You will need about twenty of these easy-to-make clamps which will be used to hold the plates to the ribs while glue dries out. Cut an old broom handle into 1 inch lengths and drill a hole through each (Figure 2-22). Spring clamps like the one shown in Figure 2-23 are much easier to use. You will need to purchase about six clamps.

Figure 2-22

Figure 2-23

Sound Post Inserter and Setter

This is a typical curved metal tool that is available from luthier supply companies (Figure 2-24). A sharp point at one end is used to impale the sound post so that it can be inserted into the violin through a sound hole. The other end is used to push or pull the top of the post into correct alignment.

Figure 2-24

CHAPTER 3:

CONSTRUCTION of the VIOLIN

Now that you have all your materials prepared, we can begin constructing the violin. This chapter has been split into six sections:

Steps 1–50: Using the Form, Making the Ribs, and Shaping the Blocks

Steps 51–71: Shaping the Belly and Back Plates

Steps 72–84: Adding Detail to the Belly—Creating the Bass Bar, f-holes, and End Rest Slot

Steps 85–115: Creating the Neck, Pegbox, and Scroll Unit

Steps 116–132: Shaping the Fingerboard

Steps 133–182: Finishing Up

Steps 1–50: Using the Form, Making the Ribs, and Shaping the Blocks

1 The corner and end blocks will be fastened temporarily by tack-gluing them to the lower section of the form and will be separated from the form after the ribs (sides) have been glued to the blocks. For this reason, the blocks should not fit tightly into the form recesses. Apply small droplets of glue to the lower part of the body form at the areas indicated “O”. The areas marked “X” should not receive glue

2 Place the form on a flat surface. Slide the four corner and two end blocks into place and clamp with dowels and elastic bands or “C” clamps until the glue is dry.

3 Use a file to bring the corner and end blocks level with the top and bottom of the form.

4 Use Template A to trace the shapes of the corner points onto the four corner blocks (Figure 3-2).

5 Draw the curves on the end blocks so that they continue the curves of the form (Figure 3-2).

Figure 3-1

Figure 3-2

6 Use a band saw to trim the corner and end blocks to shape (Figure 3-3).

7 Line the contacting surfaces of the lower bout form with strips of waxed paper. Secure them with small pieces of tape (Figure 3-4).

8 The veneer— 1/32” thick—should have been cut into 1⅜” wide strips. Cut two pieces of veneer to a length of 28 cm.

9 Spread woodworking glue over one surface of one piece of veneer. Place the other strip of veneer over the glue-coated surface. Wipe away any excess glue that is squeezed out. Align the edges and then staple one end of the combined strips (Figure 3-4).

Figure 3-3

Figure 3-4

10 Place the combined strips between the mating edges of the form. Press the two parts of the form together and then clamp them tightly while the glue dries (Figure 3-5).

11 Repeat the process described in Steps 7-10 for the other two bouts (the lengths of the veneer strips are indicated on the full-sized patterns for the forms).

12 When the three composite ribs are dry, remove them and use the same forms to make three more ribs.

13 Using a wax crayon or candle, rub over the edges of the body form where glue should not adhere (the areas in Figures 3-1, 3-2, and 3-3 marked “X”). The ribs will be glued only to the corner and end blocks.

14 Clamp the body form into a vise with one of the center bouts facing upward. Place one of the center ribs into the center bout of the form. Mark the areas of the rib that will contact the corner blocks.

15 Apply a thin layer of glue to the inside curves of the corner blocks. Also apply glue to the mating surfaces of the inner bout ribs.

Figure 3-5

Figure 3-6

16 Press the center rib into place. Wipe away any expressed glue. It is important that the ribs are not glued to the body form.

17 Use dowels, flat strips of wood, and numerous elastic bands to pull the center rib tightly against the corner blocks. Figure 3-6 shows only one band at each pressure point but five or six will be required to give sufficient force.

18 Glue the other center rib in place in the same manner. When the glue has dried, remove the elastic bands, dowels, and flat strips.

19 Use a band saw to trim the ends of the middle bouts about 3mm beyond the points of the corner blocks (Figure 3-7 A).

20 Use sandpaper wrapped around a ⅞” dowel to sand the edges of the center bout ribs so that the curves of the corner blocks continue outward (Figure 3-7 B).

21 Glue the two upper bout ribs in place in the same manner. The joint where they meet at the front block does not need to be perfect because that area will be cut away later when the neck is installed. The upper ribs will temporarily extend beyond the center ribs as shown in Figure 3-8 A.

Figure 3-7

Figure 3-8

22 Place the back ribs against the form and measure the exact length at the back join. Use the band saw to cut the ribs to that length.

23 Glue the lower bout ribs in place. These ribs overlap the center ribs as shown in Figure 3-8 B.

24 Use the band saw to trim the four corners as shown in Figure 3-9.

25 Carve and sand the ribs down to the level of the form on both sides (Figure 3-10). Use a very sharp knife and shave away the waste wood carefully. Watch the grain direction closely to avoid splitting the ribs.

Figure 3-9

Figure 3-10

26 Place the side of the form and rib structure marked “belly” on top of the spruce board which will form the belly (top) of the instrument. Align the center join of the top board with the centerline of the form. Use a pencil to trace the outline of the form/rib assembly onto the board. This line is not a cutting line but it will serve later as a guide when the top is glued to the ribs (Figure 3-11).

27 Using a spacer, draw a second line around the form/rib structure. Make the second line 4mm outward from the first line. This outer line will be the cutting line. A washer makes a good spacer (Figure 3-11).

28 Place the side of the form/rib assembly marked “back” against the maple board. Repeat Steps 26 and 27. Be sure to leave a tab (button) for the portion of the back which will eventually cover the base of the neck (Figure 3-11). The button is not merely ornamental but is essential in strengthening the neck-body join so that the large forces of the tensioned strings will not cause the neck to separate from the body.

29 Use Template B to mark the ends of the front ribs for the tapered neck slot to be cut (Figure 3-12).

30 On both top and bottom, measure in 7mm from the front of the form/rib assembly and draw lines at 90° to mark the depth of the neck slot in the block.

31 Fasten the form/rib assembly upright in a vise. Use a coping saw and a file to cut and shape the neck slot.

32 Drill a hole in the lower part of the front block in diameter (Figure 3-12). In Step 131, a screw will be inserted from inside the body to help hold the neck securely to the front block. Step 131 is optional.

Figure 3-11

Figure 3-12

33 Reposition the form/rib assembly in the vise and drill a ³/₁₆” hole at the center point of the join of the back ribs and through the bottom block as shown in Figure 3-13. In Step 163 this hole will be enlarged with a ream so that the tail pin can be inserted.

34 Remove the six flat-head screws that hold the two sections of the form together.

35 Insert the two machine screws in the matching holes in the top section of the form. Slowly turn them to lift the top part of the form free (Figure 3-14).

36 30 The bottom part of the form is left in place for the next few steps. However, be sure that the form can be easily released from the rib/block assembly at a later time! If the blocks were lightly glued to the form at the indicated places, a thin blade should separate them easily. If not, use a coping saw to separate the blocks from the form. The small holes drilled in the form at the corners of the blocks permit the insertion of the coping saw blade. Hold the form/rib assembly in a vise and saw the bases of the blocks where they contact the form. Do not damage the form as it can be used again in making more violins.

37 When the tack-glued blocks have been separated from the bottom half of the form, the rib/block assembly may spring away from the form. Turn the assembly over and use strips of tape and a plywood clamp to bring the ribs and blocks back into contact with the form (Figure 3-15).

Figure 3-13

Figure 3-14

Figure 3-15

38 The bout linings will consist of three layers of ¼”wide, ¹/₃₂” thick veneer. Position the form/rib assembly as shown in Figure 3-16. Bend a strip of the veneer around the inside edge of one rib between the lower end-block and a lower corner block. Mark and cut the strip to that length. Glue the strip in place using numerous closely spaced clothespins as clamps.

39 Repeat this process for the other lower bout lining.

40 Cut, glue, and clamp the center bout linings next.

41 Cut, glue, and clamp the linings for the upper bouts.

42 When the glue holding the first layer of linings is dry, repeat Steps 38-41 to add a second layer of veneer strips.

43 Cut, glue, and clamp a third layer of veneer strips on top of the second layer. These three layers form very strong, laminated linings on the upper edges of the ribs (Figure 3-17).

Figure 3-16

Figure 3-17

44 Remove the bottom half of the form from the block/rib assembly and replace the plywood clamp between the center bout ribs to ensure that the ribs maintain the correct spacing (Figure 3-18).

45 Repeat Steps 38-41 to install the three-ply, laminated rib liners on the other edge of the ribs.

46 Use a sharp blade and sandpaper on a sanding block to trim the linings to the level of the ribs (Figure 3-19).

47 Mark the corner and end blocks as shown by the dashed lines in Figure 3-19.

48 Hold the block/rib assembly in a vise and use a coping saw to cut away the waste wood of the corner and end blocks. Use a rounded file to smooth the inside surfaces.

Figure 3-18

Figure 3-19

49 Use a small gouge to shape the linings as shown in Figure 3-20.

50 Use a gouge to remove excess wood from the inside of the corner blocks.

Figure 3-20

Steps 51–71: Shaping the Belly and Back Plates

51 The top (belly) and bottom (back) plates have already been marked in Steps 26-28. The inner lines represent the actual shape of the ribs where they contact the plates. The outer lines, 4mm beyond the inner lines, are the cutting lines. Use a ⅛” blade on the band saw so that the tight curves can be easily managed. Again, be sure to leave a tab on the back plate for later shaping of the button (Figure 3-21).

Figure 3-21

52 From the bottom edges of both plates mark a thickness of 5mm at numerous points around the edges. Then, use a pencil to draw continuous lines around the plates to connect the points.

53 Before using gouges to shape the plates, remove much of the excess wood by sawing. First, use a pencil to mark the center lines of both plates.

54 Clamp the maple back plate upright in a vise and make an angled sawcut on the top side of the plate as shown in Figure 3-22. Do not cut below the edge thickness line or beyond the centerline on the plate. The saw cut is about 2” out from the center line. Make these cuts on both the left and the right sides of the plate top.

55 Use the saw to remove excess wood from the front and back ends of the plate top. The plate after rough shaping will resemble Figure 3-23.

Figure 3-22

Figure 3-23

When Gutzon Borglum carved the giant faces on Mount Rushmore, he first used explosives to remove tons of surrounding granite. Then he used chisels to finish the work. Explosives are not used in violin making, but a saw can quickly produce a workable surface for the gouges.

56 Repeat the preliminary shaping process on the spruce belly plate.

57 Using the two hold-down screws, fasten the back plate to the turntable as shown in Figure 3-24. These screws should be just long enough to go a short distance into the bottom of the plates so they don’t move while you’re carving the tops. Remember that the undersides of the plates will be hollowed out after the top surfaces are shaped. You do not want the screws to pierce the top surface. The length of the screw is determined by the thickness of the wood in the turntable.

58 Use a very sharp gouge—⅝” #5—to continue shaping the plate. The first goal is to develop a generally rounded shape. Always use both hands on the gouge to maintain control as you carve. For the initial carving, push the gouge away from your body. Pulling the blade toward you, as in Figure 3-25, may be done only during the final trimming. If the gouge is properly sharpened, the carving will be easy and pleasurable, almost like carving hard wax. A dull blade will make the work dangerous and frustratingly difficult.

Figure 3-24

Figure 3-25

59 Continue carving with gouges until the plate takes on the shape indicated in Figure 3-26. The curves blend in a subtle, complex way. Use Templates C, D, E, and F to aid in this process. The edges of the plates will be about 3.5mm thick. Do not go on until these shapes are as perfect as you can make them with gouges alone.

60 After the plate has been accurately shaped, scrape the surface in order to remove all traces of the gouge marks. A very effective scraping device can be made by holding two coarse-toothed hacksaw blades together with their teeth facing in opposite directions. Bend the blades, as needed, to fit the curvatures of the plate while drawing them toward you in diagonal sweeps (Figure 3-27).

61 When the gouge marks have nearly disappeared, switch to hacksaw blades with fine teeth. Then finish with commercially made scrapers of varied shapes, which can be purchased in woodworking stores (Figure 3-27).

62 Use the same procedures to shape the spruce top plate.

Figure 3-26

Figure 3-27

63 Place the side of the block/rib assembly marked “Back” against the flat side of the back plate. Trace the outlines of the ribs and blocks onto the plate. When the plate is hollowed, this area will remain untouched so as to present a flat gluing surface, as shown by the stippled area in Figure 3-28.

64 Use the full-sized back plate contour pattern and carbon paper to transfer the hollowing guidelines onto the flat surface of the back plate. Indicate the thickness for each zone (Figure 3-29).

65 Tape a plywood base plate to the drill press table. Turn in a round-head, brass screw so that it lines up exactly with a ¼” drill bit (Figure 3-30).

Figure 3-28

Figure 3-29

Figure 3-30

66 Set the drilling depth for a particular zone by using a stacked-filecard spacer of the proper thickness (Figure 3-31).

67 Drill numerous, closely-spaced holes to the prescribed depth in each zone. Be sure to readjust the drilling depth when moving to a new zone.

68 Place the drilled back plate in a carving box as shown in Figure 3-32. Use a bed of wood shavings in order to protect the finished outer surface of the plate. The carving box can be made to rotate like the turntable in Figure 3-24.

69 Begin to carve the waste wood from the underside of the plate. Drive the gouge with a mallet to ease the initial rough hollowing. Make the cuts at a slight angle to the grain direction to reduce the chance of the gouge sinking too deeply into the plate. Continue this carving until only small “dimples” remain from the drilled holes.

70 Use scrapers to smooth the inside surface of the plate until the dimples just disappear. The plate will now have the thickness shown in Figure 3-29.

Figure 3-31

If the plates were made from boards that were glued together (as in Figure 2-14), you may wish to strengthen the joints after the plates are hollowed by gluing 1.5 in. squares of veneer on the inside surfaces of the joints. Space these studs about 2 in. apart and be sure that their grain direction is at right angles to the grain of the plate.

Figure 3-32

71 Steps 63-70 are repeated in hollowing the underside of the spruce top plate. If the bass bar is to be added as a separate piece, hollow the entire underside. If the bass bar is to be an integral part of the belly, be sure to indicate this when the pattern for the belly contours is transferred to the wood.

See Shaping the outer surfaces of the plates and Hollowing the plates, pages 98-99, for more on Steps 63-70.

Steps 72—84: Adding Detail to the Belly—Creating the Bass Bar, f-holes, and End Rest Slot

Figure 3-33

72 After the underside of the belly has been hollowed, use a chisel and a gouge to shape the bass bar strip until it conforms to Template G. If the bass bar is carved from a separate piece of wood, use fine-grained wood of the same type as the belly. Curve it for an exact fit with the underside of the plate (Figure 3-33) and clamp it in place as the glue dries.

73 Measure down 19.5cm from the top of the spruce belly plate. Draw a light pencil line at right angles to the centerline of the plate. This pencil line will mark the future location of the bridge and will guide you in locating the f-holes (Figure 3-34).

74 Use Template H and a pencil to draw the shapes of the f-holes on both sides of the centerline.

Figure 3-34

75 Using a backing of scrap wood so as not to split the plate, drill ³/₁₆” holes at the points indicated by “X” on Figure 3-35.

76 Insert a fine-toothed coping saw blade or a modeling saw blade through one of the ³/₁₆” holes. Rest the plate at the edge of the workbench and with the blade hand-held, cut down the centerline of the f-hole as shown by the dashed line in Figure 3-35. Do not try to cut the f-hole to its final shape with the saw blade.

77 Use a small, sharp knife blade, to carve the f-holes to their finished shape. Take thin shavings and pay attention to the wood grain so as not to split the top.

78 At the back edge of the spruce belly plate, mark the dimensions for the end rest cut-out as shown in Figure 3-36. Use the band saw to cut away this part of the plate.

Figure 3-35

The purfling can be installed after carving the f-holes. However, Stradivari does it later in the process, and that is the way this book is organized. Check Steps 145-156 for more information (pages 76-78).

Figure 3-36

79 Apply a thin coat of glue to the edges of the ribs and blocks which have been marked “belly side.”

80 Place the belly plate in contact with the glue-coated edge of the ribs. Check to see that the plate edge is equidistant from the ribs at all points. Use four spring clamps to hold the plate at the four corners (Figure 3-37).

81 Use additional spring clamps or luthier’s clamps all around the edges to hold the belly plate against the ribs. Some glue will be squeezed out. Use a small strip of veneer to scrape away the excess glue. Then wipe away any remaining surface glue with a dampened cloth.

82 When the glue has dried, use a coping saw to cut away the small section of the belly plate that covers the top of the neck slot. Trim the edges with a flat file (Figure 3-38).

83 With a carving knife, file, and sanding block, trim the edges of the belly plate so that they project evenly 3.5 mm beyond the ribs.

Figure 3-37

Figure 3-38

84 Cut a piece of file card to fit exactly into the neck slot at the top of the body. Allow the bottom of this card to project about 1.5cm below the bottom edge of the rib. Mark a centerline on the card (Figure 3-39).

Figure 3-39

Steps 85–115: Creating the Neck, Pegbox, and Scroll Unit

85 Use a block of maple with the dimensions shown in Figure 3-40 to form the neck/pegbox/scroll unit. If two ¾” boards have been laminated, a centerline was automatically created. If a solid block of wood is used, draw a centerline.

Figure 3-40

86 Cut out the full-sized pattern for the neck/pegbox/scroll unit.

87 Bend a piece of carbon paper, carbon side down, to fit over the top and two sides of the wooden block.

88 Fold the pattern on the dotted lines and place it over the carbon paper-covered block. Use a few pieces of tape to hold it securely.

89 Trace the pattern on both sides and the top of the block.

90 Drill four holes—3/16”—at the positions indicated with an “X”. These holes will be enlarged and shaped with a peg-hole reamer in Step 161.

91 Place the block upright on the table of the band saw. Starting at the base of the neck, saw the sides up to but not beyond the scroll line. Follow the arrows in Figure 3-40. Do not cut down on the scroll boundary line to release the side pieces yet.

92 Turn the block on one side and use the band saw to cut along the profiles of the scroll, pegbox, and neck.

93 Turn the block upright again and use the band saw to cut in from both sides along the scroll boundary line so that the side pieces can be removed (Figure 3-41). Do not throw these pieces away because they are useful as spacers at various times when the neck has to be fastened in a vise for shaping.

94 Use files and sanding blocks to smooth all the sawn edges on the scroll, pegbox and neck.

95 Re-mark the centerline of the pegbox and scroll.

96 Cut out Template I. Starting at the chin, curl it around the scroll as shown in Figure 3-42. Then, trace its shape onto the wood (dashed lines in Figure 3-42). This tracing represents the “width line.”

Figure 3-41

Figure 3-42

97 Clamp the neck in the vise with one side of the scroll facing upward. Use a coping saw to make a vertical cut into the side of the scroll at location “A” (Figure 3-43). Stop when the blade reaches the width line you drew in Step 96. Then turn the saw to cut along the width line until the blade reaches the first cut. This will release a wedge-shaped waste piece.

98 Make a second perpendicular cut at location “B.” Again, the blade must stop when it reaches the width line of the scroll. Turn the saw and cut along the width line to remove the waste wood as before.

99 Continue cutting and removing waste wedges from “C” to “L.” Do not go any further than line “L” at this point.

100 Make the same series of cuts on the opposite side of the scroll.

Figure 3-43

Suggestion: Practice scroll-carving on an inexpensive block of pine before working on the maple block.

101 Use a knife to remove any projecting corners between the saw cuts. The line of the scroll should curve smoothly up to saw cut “L”. The last saw cuts and waste wood removal should have left that part of the scroll about 4mm above the front side of the pegbox.

102 Starting at position “L” draw a new width line around the rising scroll, always staying 4mm above the flat surface that is created when the waste wood is removed (Figures 3-44 and 3-45).

103 Continue carving around the scroll until the lines on both sides reach the edge of the eye (Figures 3-46 and 3-47). Work on both sides of the scroll alternately and check constantly to be sure symmetry is achieved. Use a small knife blade for the final cutting near the eye.

Figure 3-44

Figure 3-45

Figure 3-46

104 Starting at the side of the pegbox, use a flat file to smooth the scroll all the way up to the eye (Figure 3-47). The edge of the rising curve must be kept perpendicular to the flat surface of the scroll as it spirals upward. Again, check to see that both sides of the scroll are identically shaped.

105 From the edge of the eye, mark a ¹/₁₆” wide border down to the edge of the pegbox (dashed line on Figure 3-48). When the scroll’s spiral surface is deepened, the border area will remain untouched (flat).

Figure 3-47

Figure 3-48

106 Use a knife to make vertical cuts following the curve of the scroll from the eye to the start of the peg box. Do not try to cut to full depth too fast. Instead, make repeated, short, slicing cuts as you go around the spiral (Figure 3-49).

107 Use small gouges of varying sizes to cut inward from the drawn border line toward the rise of the scroll.

108 Repeat Steps 106 and 107 until the scroll has been pleasingly shaped. Examine the scrolls of several finished violins to determine the degree of undercutting you find most attractive.

109 With the aid of the waste pieces from Step 93, clamp the neck in the vise as shown in Figure 3-50. Use a knife to cut downward as far as possible on the inner lines of the pegbox.

110 Use more downcutting of the knife in combination with a ⅜” chisel to remove waste wood from the pegbox. Use Template J to determine the finished depth of the pegbox cavity. Template J also provides a pattern for creating reinforcing veneer to strengthen the sides of the pegbox.

Figure 3-49

Figure 3-50

111 The sides of a pegbox sometimes split when tuning pegs are twisted in. Prevent this from happening by gluing reinforcing pieces of veneer to the inside walls of the pegbox. Cut two pieces of ¹/₃₂” veneer to the shape of Template J. The grain of the reinforcing veneer is at right angles to the grain of the pegbox. When they fit the cavity exactly, drill holes in them to match those already in the pegbox sides and then glue them in place. Use small pieces of toothpicks to press these reinforcement pieces against the sides until the glue dries.

112 Use a knife, gouges, and a curved scraper to shape the chin and form the grooves from the chin around the outside edge of the scroll to the opening of the pegbox (Figures 3-50 and 3-51).

113 At the base of the neck, mark a line 7mm from the top surface (Figure 3-52). When the neck is set into the slot in the body, the upper edge of the top plate will be even with that height line.

114 Place the template from Step 84 on the base of the neck as shown in Figure 3-52. Trace its shape onto the wood.

115 Use a coping saw, chisel and file to cut away the waste wood on the sides of the neck base up to the height line. Then, trim the base of the neck to an exact fit in the body slot.

Figure 3-51

Figure 3-52

When cutting away the sides of the heel (as shown in Figure 3-52), be sure to cut just outside the line traced around the template. Later, it will be trimmed to an exact fit in Step 123.

Steps 116—132: Shaping the Fingerboard

116 Cut out Templates K and L from the full size pattern section. Trace these patterns onto the front and back ends of the fingerboard blank (Figures 3-53 and 3-54).

117 On the two sides of the fingerboard, draw straight lines to connect points “X” on the front and back patterns (Figure 3-54 A).

118 Draw a center line on the top surface of the fingerboard (Figure 3-54 B).

119 Tack-glue the fingerboard to the neck. Use just a few spots of glue so that the fingerboard can be easily removed in Step 157.

120 Use a file to trim the sides of the fingerboard to blend smoothly with the neck (Figure 3-55). It may be necessary to redraw parts of the lines drawn in Step 117.

Figure 3-53

Figure 3-54

Purchased fingerboard blanks are usually ebony, but maple or other hardwoods can be used.

Figure 3-55

Figure 3-56

121 Clamp the neck/fingerboard assembly in the vise as shown in Figure 3-56. Waste neck cut-offs from Step 93 will permit easier clamping.

122 Use a chisel, file, and sanding block to carve the top surface of the finger board to follow the shapes of the end templates.

123 Fit the base of the neck/fingerboard assembly into the slot in the body. The top edge of the fingerboard should be 2cm above the top of the belly. Use a file to make slight changes in the slot or the neck-base until this is achieved (Figure 3-57).

124 Hold the neck firmly in the body-slot with the centerline of the fingerboard aligned with the centerline of the belly. Check to be sure that the fingerboard top is 2cm above the belly. Then, place a straight-edge across the bottom of the violin body next to the heel and mark the line at which the excess length of the heel needs to be cut off.

Figure 3-57

125 Cut off the excess wood at the heel. Leave just a bit extra so that later it can be filed down for an exact fit when the back plate is glued in place.

126 Use a pencil to trace a line defining the area of the neck base that will be hidden in the body slot (Figure 3-58 A).

127 Draw a symmetrically-rounded shape at the base of the heel where the neck projects beyond the body slot (Figure 3-58 B).

128 Remove the neck from the slot and clamp it in the vise. Carve the underside of the neck so that it follows the shape of Template M and blends into the fingerboard (Figure 3-59 A).

129 Carve and sand the base of the neck so that it curves smoothly into the rounded shape at the heel (Figure 3-59 B). Do not do any further carving or sanding in the area of the heel that is to be set into the tapered slot in the body (Figure 3-59 C).

130 Apply glue to the contacting surfaces of the neck and body slot. Press the neck into place. Wipe away excess glue. Check to be sure that the centerline of the fingerboard aligns exactly with the centerline of the body (Figure 3-60) and the top of the fingerboard is 2cm above the top of the belly. Use a “C” clamp to hold everything in place while the glue dries.

Figure 3-58

Figure 3-59

Figure 3-60

131 Optional: Insert a 1” long, round-head screw through the ⅛” hole in the front block. Screw this into the heel of the neck as shown in Figure 3-58. This screw will add a small amount of weight but it will immensely strengthen the neck-to-body join and prevent separation when the strings are tensioned.

132 File the bottom of the heel until it is exactly level with the surface of the front block (Figure 3-58).

Steps 133–182: Finishing Up

133 The sound post can be cut to near final size before gluing the back plate to the ribs. Hold the back plate in place over the bottom edge of the ribs and insert ½”a spruce dowel vertically through the front circle of the right side f-hole. Mark the approximate length on the dowel. Remove the dowel and cut it to that length. Remove the back plate. Using fast drying glue, tack glue the dowel to the inside of the belly, just below and slightly behind the location for the right foot of the bridge. Hold the back plate in place once more while looking into the body cavity through the tail pin hole. Make small changes in the length of the soundpost until it can be held in place by the slightest pressure of the back plate. Remove the soundpost and set it aside until final assembly (Figure 3-61).

Figure 3-61

A sound post length gauge can be purchased from luthier supply houses.

134 Apply glue to the mating surfaces of the back plate and the rib/neck structure. Place the back plate in position and clamp it in the same manner as you did for the top plate.

135 Carve and sand away the excess wood from the tab so that the button of the bottom plate blends smoothly with the base of the heel (Figure 3-62).

136 Use a knife and file to trim the bottom plate overhang so that it matches the top plate overhang of 3.5mm beyond the ribs.

137 Mark the outlines of the four corners as shown in Figure 3-63. File them so that the corresponding top and bottom plate corners have exactly the same shapes.

138 Set the end rest block into the opening in the belly and mark the block to show the thickness of the belly plate (Figure 3-64).

139 Use a chisel to shape the end rest as shown.

140 Glue the end rest into place.

Figure 3-62

Figure 3-63

Figure 3-64

Before gluing the violin together, paste a label inside the violin (visible through the left side sound hole). Record your name and the date to aid researchers 300 years from now.

141 Use a file to make the back of the end rest conform to the curve of the top plate (Figure 3-65).

142 The end rest will now look like

143 Mark the sides of the end rest as shown in Figure 3-66 B. Then carve down to the line (see Figure 3-66 C).

144 Mark new lines as shown in Figure 3-66 D. Carve down to the new line. The end rest will look like Figure 3-66 E.

145 Make a purfling marker by gluing a sharpened pencil on a piece of wood as shown in Figure 3-67.

146 Use the marker to draw a curving line around the top of the plate 5mm from the edge.

147 Draw a second line inside the first. Determine the spacing of these two lines by the thickness of the purfling to be inserted.

148 Use a knife to cut straight downward on the two lines. Make the purfling groove about 1.5mm deep. Do not try to reach that depth with one cut! Make many small, slicing cuts, especially when cutting across the grain of the spruce top.

Figure 3-65

Figure 3-66

Figure 3-67

149 149 Use a small, dog-leg chisel of the same width as the purfling to remove the waste wood between the two incised lines (Figures 3-68 A and 3-69 A). Make very shallow shavings so that the chisel does not plunge entirely through the plate. Small motorized cutting wheels are very helpful in cutting the purfling channel, but the dog-leg chisel and thin knife blade are still needed for the corners. Continue cutting downward until the channel is 1.5mm deep.

Figure 3-68

Purfling may be installed before the plates are glued to the ribs if you find it more convenient. However, Stradivari did it later in the process, and that is the way this book is organized. If you wish to install the purfling earlier, try doing it after Step 77 (page 62).

150 Cut the channel in the back plate in the same manner.

151 The purfling strips can be purchased ready-to-use or you can make them from veneer strips. If you make your own, start by cutting the veneer into 1⅜”-wide strips.

152 Use the rib form blocks to shape the purfling strips. Cut two strips of dark mahogany veneer and one strip of light maple veneer to the lengths indicated on the bout forms. Glue these together in a “sandwich” with the light-colored maple in the center.

153 Before the glue dries, clamp the purfling “sandwich” inside the form. When the glue sets, use a bandsaw to cut the sandwich into 3mm wide strips. You will need four strips of each type for the back, middle and front bouts (on both upper and lower plates).

154 Set the center bout purfling strips into the grooves first. Trim away the excess wood on an angle at the ends where they fit into the corners of the groove, as shown in Figure 3-68 B. The purfling strips must fit to the bottom of the groove. When the fit is correct, glue the strips in place. Wipe away excess glue and then use luthier’s clamps to hold the strips in place as the glue dries. At this stage, the tops of the purfling strips will project slightly above the top of the plate (Figure 3-69 B).

155 The front and back bout purfling strips are shaped, glued, and clamped in the same manner. The miter joints with the center bout purfling strips should resemble Figure 3-68 C.

156 When the glue holding the purfling strips has set, use a small gouge and carve away the purfling that projects above the plate surface (Figure 3-69 C). Also, deepen the purfling area of the plate very slightly as you cut away any glue residue (Figure 3-69 D). Remove any traces of gouge marks with a curved scraper.

Figure 3-69

157 The fingerboard had previously been tack-glued to the neck for preliminary shaping. Now, remove it for further work. Insert a thin knife blade between the neck and fingerboard to wedge them apart.

158 Brace the inverted fingerboard against a block nailed to the workbench and use a gouge to carve away the underside as shown in Figure 3-70. This will reduce unnecessary weight.

Figure 3-70

159 If maple has been used to make the fingerboard, give it several coats of ebony black stain. Sand lightly between each coat to obtain a very smooth surface.

160 Shape the four tuning pegs to match the taper of the reamer that will be used to enlarge the holes in the pegbox. Use a block of wood with a groove cut into it to hold the pegs as they are filed to shape or use a purchased peg shaper (Figures 3-71 and 3-72).

161 Ream the pegbox holes to shape after the tapers of the pegs match the taper of the reamer. When the pegs are correctly fitted, their shafts will have a slight backward cant (2°) toward the bridge (Figure 3-73). This will help to prevent the peg from slipping under string tension. Ream the holes slowly and carefully, adding slight, sideways pressure to introduce the 2° backward cant shown. The relationship of the pegs to the pegbox is shown in Figure 3-73. Stop reaming when the finger grips are about 2cm from the outer sides of the pegbox. The peg tips will project about 3mm from the other sides of the pegbox. Each peg must be individually fitted to a particular pegbox hole. Mark them to prevent mix-ups.

Figure 3-71

Figure 3-72

Figure 3-73

162 Drill a hole—¹/₁₆”—through each peg for the string. To make drilling easier, use a small, round file to make a shallow groove on the peg shaft a short distance from where it touches the inside wall of the pegbox.

163 Use the reamer to shape the tail pin hole in the back block.

164 The finished violin must be varnished to enhance its appearance and to make the surface more resistant to damage and soiling. The process can be broken down into the following stages:

(A) Mellowing the new, whitewood surfaces: Suspend the violin outdoors to expose it to air and sunlight, ideally for days or weeks. The warm amber tone that results creates the ground color for the next step. Mind the weather!

(B) Sealing (sizing or filling) the wood, also a part of establishing the ground: Brush in a thinned, colorless spirit varnish. When that is dry, apply a coat of clear, oil varnish. This sealing prevents the following coats of colored varnish from penetrating into the wood unevenly, which would result in a blotchy appearance.

(C) Apply several coats of colored varnish over the sealed wood until the desired color intensity is achieved. It is important that each layer of varnish be completely dry and lightly sanded before you apply the next coat.

(D) Apply a final coat of clear, colorless varnish. Follow by polishing with a rubbing compound.

165 Glue the fingerboard to the neck. Use thinned-down hide glue because the fingerboard may be replaced eventually. Use spring clamps to hold the fingerboard in place as the glue dries.

166 Glue in place at the end of the fingerboard (Figure 3-74) the piece of ebony or maple that will form the nut.

167 File the top of the nut to match the curve of the fingerboard. The top of the nut should be about 1mm higher than the top of the fingerboard (3-74 B).

168 Carve and file the front of the nut to match the shape shown in Figure 3-74 A.

Figure 3-74

If your ancestors came from the area of Cremona, Italy, and you possess an old family recipe for varnish—be sure to use it. Then secure the formula in a bank vault.

169 Mark the locations of the string grooves in the nut as shown on Template N. Use a small, triangular file to cut very shallow grooves so that the strings will not sink below the top edge of the nut.

170 If the fingerboard and nut are maple, apply a coat of polyurethane to them. Do not use polyurethane on the body of the violin.

171 Fit the bridge across the top plate between the notches of the f-holes. The bridge will have to be shaped to fit your violin. Carve and sand the feet to exactly match the curve of the belly (Figure 3-75).

172 Temporarily hold the bridge upright in the correct position between the f-hole nicks (Figure 3-76).

173 At the top of the fingerboard on the E string side, place a 4mm thick spacer. Place a 6mm thick spacer on the G string side.

174 Run a straight edge from the top of the nut over the top of the 4mm spacer. Where the straight edge touches the E string side of the bridge, make a mark. Do the same thing on the G string side of the bridge.

175 Remove the bridge. Place the top curve of Template O on the bridge from point E to point G and trace the curve on the wood (dashed line on Figure 3-76).

Figure 3-75

Figure 3-76

176 Cut away the waste wood above the curved line on the bridge.

177 Sand the bridge until the top edge is 2mm thick.

178 Use Template O to locate the points where the strings will touch. Again, make small nicks so that the strings will ride on the bridge and not sink deeply into it.

179 The soundpost, which was cut and shaped to an approximate fit in Step 134, is now set in place. First, impale the soundpost on the pointed soundpost inserter, then insert the sound post into the violin through the right hand f-hole. A thread tied to the sound post and exiting through the f-hole allows for easy removal of the post if it falls over during this process. Peer into the body cavity through the tail pin hole as you position the post as shown in Figure 3-77. Insert the sound post setter through the same f-hole. Hook the top of the sound post and pull outward until it wedges snugly in place between the top and bottom plates. The soundpost should stand vertically under the E string foot of the bridge and about 1cm toward the back when viewed through the right side f-hole. The post should not be wedged so tight that it distorts the plates. Nor should it fall over easily. Do not glue the post in place as it may be necessary to make slight changes in its position to achieve the best sound. The post is moved only when the string tension is released.

Figure 3-77

A pincer-type (sound post) inserter/setter can be purchased from violin supply companies.

180 Insert the tail pin in the bottom block. Adjust the tail piece tail gut, which fits over it, to the proper length by turning the small nuts on its threaded tips. The relationship of the tail piece to the end rest is shown in Figure 3-78.

181 Rub a soft pencil point in the string grooves of the nut and bridge for lubrication. Install the strings as directed by the manufacturer. Be aware that as you tighten the strings, the bridge will start to tip forward! Watch for this during the tuning process and, using both hands, carefully keep adjusting it so it stays perpendicular to the surface of the belly. If you neglect to check this, the bridge may snap down with great force and crack the top plate!

182 Celebrate your creation (Figure 3-79) by playing the Bach Chaconne or Old Joe Clark.

Figure 3-78

Figure 3-79

APPENDIX:

FULL SIZE PATTERNS and TEMPLATES

The following section contains the full size patterns, templates, and reference drawings needed to construct the violin as shown in the preceding text.

Due to the size of the originals, some drawings have been spliced to run across a two page spread.

Simply make a photocopy of each page. Then fold or cut each page to line up the registration marks. We suggest you then glue these patterns to a stiff paper backing for durability.

TOP PLATE (BELLY)

TOP PLATE (BELLY) UNDERSIDE VIEW SHOWING THICKNESS ZONES (MM)

BOTTOM PLATE (BACK)

PLEASE SEE PAGE 97 FOR TEMPLATE D, E AND F.

BOTTOM PLATE (BACK)

BUILDING FORM PATTERN

BUILDING FORM PATTERN

Shaping the outer surfaces of the plates

1 Mark the edge thickness all around the plate (4mm-thick at the upper and lower bouts, 5mm-thick at the center bouts and four corners).

2 Use a saw and gouge for rough shaping.

3 Draw a line all around the top surface 10mm in from the edges except at the center bouts and the four corners where the distance is 7mm.

4 Use a gouge and chisel to make a 4mm-thick ledge all around the plate except at the center bouts and four corners where the thickness is 5mm.

5 Use gouges and scrapers to blend the ledge into the arching.

6 Use a small gouge (12mm #6 sweep) to make a shallow trough (about 1mm deep) all around the edge. Leave 3mm between the edge of the plate and the start of the trough.

7 Use gouges and scrapers to blend the trough into the arching.

8 5mm from the edge, mark and cut a purfling groove to match the size of the purfling to be used. Do not cut deeper than 2mm.

9 Cut purfling strips to fit. Starting with the center bouts, glue them into place.

10 Use a gouge to remove any protruding purfling. Do a final shaping and smoothing of the surface with scrapers and sandpaper. Round the plate edges with a small file.

Hollowing the plates

Bending ribs with heat

Put an electric soldering iron inside a snugly fitting copper pipe. Fill any gaps between the heating element and the copper pipe by winding a strip of copper sheet around the inside rod. Control the temperature by connecting it to a light-dimming switch. Clamp the handle into a vise. You could also purchase an electrically heated bending iron.

Use a wet rag to moisten both sides of the wood strip before bending. Do not soak the wood.

Set the temperature just high enough for bending but not enough to scorch the wood.
Bend the strips to match the curves of the patterns on pages 94, 95, and 96.

Items you will need to purchase

A Sound-post inserter/setter

B Tailpiece

C Peg hole reamer

D Pegs

E Tail button

F Bridge

G Steel scraper

H Spring clamp

I Fine tuner

J Dog-leg chisel

K Peg shaper

L Gouge

M Purfling strips

RESOURCES

The following companies are sources for imported and domestic wood, tonewoods, veneers, tools, varnishes, materials, accessories, and books.

Battenkill Tonewood

Box 780

Arlington, VT 05250

802-375-9965

curlywd@compuserve.com

D.M. Guitars

U nit 12

Rosshill Industrial Park

Sutton Road

Southend-on-Sea

Essex SS2 5PZ

01702 465930

www.dm-guitars.co.uk

Hammond Ashley Violins

19825 Des Moines

Memorial Dr.

Seattle, WA 98148

800-787-4642

www.hammondashley.com

International Violin Co., Ltd.

1421 Clarkview Rd.

Suite 118

Baltimore, MD 21209

800-542-3538

www.internationalviolin.com

Metropolitan Music Co.

4861 Mountain Rd.

Stowe, VT 05672

802-253-4814

www.metmusic.com

Old Standard Wood

4925 Country Road 351

Fulton, MO 65251

573-443-2904

Stewart-MacDonald

800-848-2273

www.stewmac.com

Touchstone Tonewoods

44 Albert Road North

Reigate

Surrey RH2 9EZ

0044(0)1737 221064

www.touchstonetonewoods.co.uk

The Wood Well

2023 East Sims Way

Port Townsend, WA 98368

877-440-2643

www.thewoodwell.com

Periodicals

Strings

www.stringsmagazine.com

The Strad

www.thestrad.com

Organizations

British Violin Making Association
www.bvma.org.uk

Catgut Acoustical Society
www.catgutacoustical.org

The New Violin Family Association, Inc.
www.newviolinfamily.org

Violin Society of America
www.vsa.to

Web resources

Kathy Matsushita

Kathy built a violin using the first edition of Violin Making and documented the process on her Web site.
http://home.comcast.net/~kathymatsushita/otherinstruments/htmlpages/violin1.html

Robert Zuger

The Geometric Design of the Violin
Robert theorizes that da Vinci had a connection to the creation of the violin. http://web.telia.com/~u42802424/

Gallery artists

Peter Gallant

Unique Fiddles

pete@uniquefiddles.com

www.uniquefiddles.com

Don Homan

925-443-9440

dnhoman@yahoo.com

Andrew Sutherland

Steep Hill Strings

andrew@sutherlandviolin.com

www.sutherlandviolin.com

Mark Wilcox

Mark J. Wilcox Violins

620-382-2717

mjonwilcox@yahoo.com

INDEX

acoustics, 28–31

back (bottom plate)

attaching, 11, 74–75

cutting and shaping, 9, 37, 55–61, 75, 77, 98–99

structure of violin and, 26–27

template, 88–89

tracing, 8, 37

wood selection, 35, 40

background of violin, 24

bass bar, 9, 10, 30, 35, 36, 61, 92

belly (top plate)

acoustics and, 28

adding detail to, 61–63

attaching, 35

bass bar and, 35, 61

cutting and shaping, 9–10, 37, 51, 55–61, 75, 98–99

fitting bridge on, 13, 81

structure of violin and, 26–27

template, 86–87

tracing, 8, 37

wood selection, 35, 39

bottom plate. See back

(bottom plate)

bridge

acoustics and, 28–29, 30

fitting and attaching, 81–83

location of, 61

modifying, 36

shaping, 13

structure of violin and, 26, 27

carving turntable, 42

center bout, 26, 38, 48, 49, 53, 54,

chin, 26, 70

construction

preview, 8–13

steps 1–50: Using form, making

ribs, shaping blocks, 46–55

steps 51–71: Shaping belly and

back plates, 55–61

steps 72–84: Adding belly detail,

creating bass bar, f-holes, and end

rest slot, 61–64

steps 85–115: Creating neck,

pegbox, scroll unit, 64–70

steps 116–132: Shaping

fingerboard, 71–74

steps 133–182: Finishing up, 74–83

end rest, 12, 35, 40, 75–76, 83

end rest cut-out, 10, 62

eye, 26, 67–68

f-holes. See sound holes (f-holes)

fingerboard, 26, 27, 41, 71–74

Gallant, Peter, 20–21, 102

gallery

Andrew Sutherland, 19

Bruce Ossman, 14, 15, 16–17

Don Homan, 18

Mark Wilcox, 22–23

Peter Gallant, 20–21

glues and gluing, 35

process overview, 8, 9, 10–12, 27, 34–35

step-by-step process. See

construction

types of glues, 35

heel button, 26

Homan, Don, 18, 102

lower bout, 26, 38, 47, 50, 96, 98

luthier’s clamps, 34, 43, 63

materials. See preparation and materials; woods modifications, 36

neck

attaching, 11

gallery examples, 18, 21, 23

opening for, 9

shaping, 10–11

structure of violin and, 26, 27

nut, 12, 26, 27, 41, 80–81, 83

Ossman, Bruce, gallery, 14, 15, 16–17

patterns and templates

bendable sheet metal sound-post

adjuster, 97

bottom plate (back), 88–89

building form pattern, 90–91

top plate (belly), 86–87

upper, center, lower bouts, 94–96

pegbox

peg holes in, 12, 79–80

shaping/hollowing, 10, 11, 40, 64, 65, 67, 68–70

structure of violin and, 26, 27

tuning pegs and, 26, 27, 41, 79

preparation and materials, 32–43

body form, 37

carving turntable, 42

corner and end blocks, 38

dowels, 39

end rest, 40

fingerboard blank, 41

luthier’s clamps, 34, 43, 63

modifications, 36

neck/pegbox/scroll block, 40

nut, 41

purchased items, 41, 101

recommendations, 34–35

rib forms, 38

sound post inserter and setter, 43

top/bottom plates, 39–40

veneer lining strips, 39

veneer rib-strips, 38

purchased items, 41, 101

purfling, 10, 12, 22, 26, 41, 62, 76–78,

resonance. See acoustics

resources, 102

ribs

bending with heat, 100

forms, 38

gallery examples, 17, 22

gluing, 35, 63–64, 75

shaping, 8–9, 29–30, 34–35, 38, 46–55, 100

structure of violin and, 26–27

veneer strips, 38

wood selection, 37

scroll

block, 40

creating, 10–11, 64–70

gallery examples, 17–20, 22, 23

pattern, 93

structure of violin and, 26, 27

sound holes (f-holes), 10, 13, 26, 27, 28, 35, 61–62, 82, 92

sound-post adjuster, 97

sound post inserter and setter, 43

structure of violin, 26–27

Sutherland, Andrew, 19, 102

tail piece, 13, 26, 83

top plate. See belly (top plate)

tuning pegs, 26, 27, 41, 79. See also pegbox

upper bout, 26, 38, 49, 53, 94

Wilcox, Mark, 22–23, 102

woods, 26–27, 30, 35. See also

preparation and materials

© 1999, 2000, 2009 by Fox Chapel Publishing Company, Inc., East Petersburg, PA.

Violin Making is an original work, first published in 1999 and revised in 2009 by Fox Chapel Publishing Company, Inc. The revisions include more reference illustrations, an appendix on bending wood and hollowing plates, and a full-color gallery. The patterns contained herein are copyrighted by the author. Readers may make copies of these patterns for personal use. The patterns themselves, however, are not to be duplicated for resale or distribution under any circumstances. Any such copying is a violation of copyright law.

Gallery photos of Bruce Ossman’s violins on pages 16-17 were taken by Laura Turner. All other gallery photos were provided by the artist unless otherwise noted.

eISBN 978-1-60765-391-2

Library of Congress Cataloging-in-Publication Data

Ossman, Bruce.

    Violin making: an illustrated guide for the amateur / Bruce Ossman. -- 2nd ed. rev. and expanded

          p. ; cm.

ISBN: 978-1-56523-435-2

1. Violin--Construction. I. Title.

ML802.O87 2009
787.2’1923--dc22

2009007052

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Second printing

Because working with wood and other materials inherently includes the risk of injury and damage, this book cannot guarantee that creating the projects in this book is safe for everyone. For this reason, this book is sold without warranties or guarantees of any kind, expressed or implied, and the publisher and the authors disclaim any liability for any injuries, losses, or damages caused in any way by the content of this book or the reader’s use of the tools needed to complete the projects presented here. The publisher and the author urge all woodworkers to thoroughly review each project and to understand the use of all tools before beginning any project.