作品档案/Archives

作品 / No : 41 ‘Debussy‘

定制者 赵先生/ Custom Mr.Zhao

预定年份/Ordered in 2017

制作年份/Made in 2020

配件/ fitting

待定/ TBD

琴型/ Model

Antonio Stradivari Forma G

选材/ wood

Back plate:Bosnia Maple

油漆/ Varnish

待定/ TBD

制琴笔记/Notes

2020.12 选材 / Material choosing

小提琴定制作品41号开始制作于2020年12月1日。背板选择依旧是捷克枫木,与之前的作品保持一致。主要目的还是在声音上力求有进一步的优化。
在面板方面,我还没有决定。因为我打算把之前购买的一批2005-06年砍伐的意大利Bachmann面板全部准确锯切一遍,在里面选择一块我喜欢的面板。如果没有的话,我会继续使用瑞士的斧劈材料。
The violin project number 41 has been started in December 2020. I’ll still use the same Czech maple from the previous projects in order to maintain the good sound I have already achieved.
For the top plate, I have not decide yet. I’d like to Re-cut the blocks of spruce I have purchased in 2005-2006. I guess I’ll choose one from them,If am not satisfied, I’ll choose another one from the  split Swiss spruce.

2020.12 面板选材 / Spruce

个人的经验,面板材质对于音质的影响要高于背板。而对于一块优质的面板而言,除了产地,干燥程度以外,另外一个我很看重的指标就是纤维的顺直情况。按照我的标准,所有的面板都要按照纤维的方向破切。这意味着你不能使用带锯机的导轨,而是要徒手完成这条直线的斜切。在观察了之前购买的材料之后,我决定花上几周的时间来把所有的已有的材料全部整理再次破切一遍。首先这有利于它们更好的干燥,其次我可以为以后的材料购买积累更多的经验。
这一批Bachman面板大多是2003年-2005年的材料。里面有一半是中提琴材料。但是我并不打算把它们制作成中提琴。而只是因为中提琴材料有更大的破切选择。给我更大的调整空间。所以即便成本价格比小提琴材料贵了不少,但是我依旧认为这种“浪费”是值得的。当然,如果经过精准破切后,尺寸依旧可以用来制作中提琴,那么我会更加开心。
最终这一批(大致25块)的Bachmann材料,经过再一次破切,有不到10块符合我的标准。剩下的材料,留给后辈们练习使用吧。
可以看到很多的厂商标签的部分因为我要最大限度的去除不必要的木材都已经被切割掉了。我想我的定制者们不需要对我的选材有什么关于“标签”的需要,我会把木材的原始标号再用手写在音板上。但是请不要质疑它的产地或者干燥年代的真实性,因为这是我花了更多的金钱成本和时间成本,来为定制者准备的更恰当的材料。
In my experience, The spruce has a greater impact on sound quality than the maple. For a high-quality spruce, in addition to the origin, the degree of dryness, another indicator I value very much is the  straight fibre. According to my standard, all the spruce must be cut in the direction parallel with the fibre. This means that you cannot use the guide rail of the sawing machine. Instead, you have to cut the straight line diagonally guided by hand. After looking at the materials I had purchased, I decided to spend a few weeks sorting through all the existing materials and cutting them again. Firstly, it helps them dry better, and secondly, I can accumulate more experience for the purchase of materials in the future.
This batch of Bachman spruce, mostly cut of in 2003-2005.  half of them are for the viola but I’m not going to put them into the viola but just because the viola material give me larger adjustment space. so even if cost than the violin material a lot, but I still think this waste is worth it, of course, if after precise cutting, size is still can be used to make a viola,  I will be even happyer.
In the end I’ve cut approximately 25 pieces of Bachmann material,  less than 10 pieces meet my criteria. The rest of the material, for the next generation to practice using it.
You can see that a lot of the parts of the manufacturer’s label have been cut off because I want to get rid of as much unnecessary wood as possible. I don’t think my customers need to have a “label” on my material. I will hand-write the original number of the wood on the wood. But please do not question the authenticity of its origin or dry age, because I spent  more money and time to prepare them , to get the most appropriate material for the you.

2021.2 模具 / The Form

这一次我选择了G模具。这支G模具我之前已经改动了三次,这一次我又做了一些修改。在这段时间里面我反复观看了第一次北京国际比赛时 David Gusset 的大师课的记录视频,得到了一些新的启发,所以我决定第四次修改这支模具。同时我正在学习今年VSA公开课里面关于模具绘制的一些知识,我打算在几个月之后,重新制作全新的G和PG模具。
I’ve choose G form for this project. It has been modified three times already.Before start this project I have watched the video I recorded 8 years ago during the first Beijing International violin making competition. Master David Gusset gave a very interesting master class. So I have some new theory in my head. In the meantime, I’m watching the VSA 2020 convention  about how to create a “perfect” form. I guess after this study, I’ll re-make my G and PG form with this new knowledge.

2021.4 镶线与弧度 / Purfling & Arching

可能是过于专注的原因,等我再一次记录这支乐器已经是两个月之后了。在更换了生活环境之后,很多思考问题的方式和角度都和原来大不一样。没那么纠结了。
镶线我使用了三根线分别拼接的方法,虽然大部分人看不出这里的区别。
弧度的制作经历了很奇妙的旅程。我不断的发现原来依旧有更好的使用刮片的手法。几乎不用眼睛看,顺着刮片使用正确的角度和力度,就能自然而然的制作出想要的弧度。而刮片的打磨锋利程度,似乎也没有那么重要。有一点点找到400年前的感觉。
Maybe it was because I was too focused, it has been two months since I recorded this instrument last time. After changing the living environment, My  ways about thinking are very different. Now I can let it just go.
I have used a different way to make the Bee sting, although most people won’t see it.
The arching making has been an amazing journey. I continue to find that there are still better ways to use the scraper. With almost no eye contact, just follow the blade with the right angle and force, you can automatically create the desired arch. And the burnish of scrape seems that also did not have so important. I  felt like I am travailing back to 400 years ago.

2021.4 面板厚度 / Top plate thickness

大概花了2天的时间,按照Davide Sora介绍的方法,复原制作了Stradivari的厚度制作工具。就是一个很简单的手动厚度制定器。通过控制针尖与底座的距离,来更好的控制和设计面板的厚度。在敲击音方面,得力于新的记录软件,脑子里由充满了各种全新的推测。
It took me  about two days to recreate Stradivari’s thickness making tool, following Davide Sora’s instructions. It‘s a very simple manual thickness maker. By controlling the distance between the tip and the base, we can better control and design the thickness of the panel. In the case of percussion, thanks to new recording software, the brain is full of all kinds of new speculation.

2021.5 音孔 低音梁 / Top plate thickness

我认为我的制琴产量比较低,但是为了更好的借鉴每一次的经验,所以我决定把所有的信息,想法,笔记,全部数码化。这样可以更快更准确的推进自己的想法,验证自己的实验。
这次的低音梁我尝试使用粉笔辅助。这是一个常用的修复手法,在严合低音梁的时候,在粘合面抹上粉笔末来辅助观察。最终我觉得这个方法还是有一定辅助意义的,特别是在一开始快速寻找低音梁的大致弧度与倾斜角度的时候,但是到了最后的精准严合,似乎还是眼睛来的更快一些。
I think my production is relatively low, but I decided to digitize all the information, ideas, notes, and everything in order to learn from each experience.In this way, I can promote my own ideas faster and more accurately and verify my own experiments.
I tried to use chalk for the bass fitting.This is a common repair technique. When the bass fitting  is tightly closed, chalk is applied to the adhesive surface to aid the observation.In the end, I think this method still has some auxiliary significance, especially in the beginning of quickly looking for the general radian and tilt Angle of the bass bar, but when it comes to the final precision and strict closing, it seems that the eyes come faster.

2021.6 命名 / nickname

 

制作这支乐器的时候,我最大的一个目标是把自己的流程,想法,规范化。经过大概4-5年的寻找,慢慢的,脑中的提琴慢慢清晰起来。在工艺方面,我在之后的提琴中尽量使用规范的,成体系的制作方法。而不是像之前那像慢慢的探索,找寻。
在六月底,我去NGV参观了法国印象派的大展,第一次去看到三分之一已经累了,但是我找到了一些很关键的启发。一直以来我都在找寻自己的审美的出发点,以及什么才是我认为的“好”,我像这句话很好的做了概括。那么之后我会按照这个要求,来完成我的乐器。
我决定为这支乐器起名 ‘德彪西 Debussy’

One of my biggest goals when I was making this instrument was to standardize my process, my ideas, my ideas.After about 4-5 years of searching, slowly, the violin in the brain gradually clear.In terms of craftsmanship, I tried to use standard and systematic methods in the subsequent violins. Instead of slowly exploring, searching, like before.

At the end of June, I went to the NGV to see the great exhibition of French Impressionism. The first time I went to see the third one, I was tired, but I found some key inspirations. I have been looking for the starting point of my own aesthetic appreciation, and what I think is “good”. I have made a good summary of this sentence. And then I’m going to follow this, and I’m going to finish my instrument.

  • I decided to name the instrument Debussy.

 

2021.7 旋首 / Scroll

 

旋首的制作持续了将近两周的时间。因为要随时陪伴两个年幼的孩子,还要抽出时间学习,所以实际工作的时间非常的有限。在这有限的时间里面,我并不想重复之前的工作。有很多的地方可以制作的更有意思,更有个性。在上次观看了法国印象派在墨尔本的大展之后,我感觉自己的制作理念某一些方面和印象派的一些追求很相似。不加修饰的笔触更容易让人感受到作品上作者倾注的情感。如果一个作品的优秀仅仅限于对称,垂直,平行等辞藻,将是多么的无聊。

It took nearly two weeks to make the scroll.With two young children to spend time with and time to study, time for  work is very limited.In this limited time, I do not want to repeat the previous work.There are lots of places to make it more interesting and more personal. After watching the exhibition of French Impressionists in Melbourne last time, I feel that some aspects of my production concept are similar to some pursuits of Impressionists.The unembellished brushwork makes it easier for people to feel the emotion of the author on the work.If the excellence of a work is limited to symmetry, perpendicularity, parallelism and other words, how boring it will be.

2021.10 白琴完成

随着墨尔本解封的到来,孩子们又可以去幼儿园了,我也可以解放出来,继续投入到工作中。乐器的白琴结束收尾选择了和之前完全不同的方式,不再追求精致,转而是为了之后的油漆图层服务。这个决定的灵感来自于陪孩子去海边玩耍的时候,看到清澈的海水以及下面的沙滩,贝壳的时候的灵感。随之而来的是另一个方向的油漆底色实验。

2021.10 底色实验

最近已经把晚上固定为读书时间。在阅读这本印象派画展介绍目录的时候,颇有感触。这些印象派画师相爱相杀,互相鼓励,又互有不服。但是评价都是中肯的,每一个人也都坚守着自己的领地。我希望自己的制琴生涯的古典阶段能够告一段落,希望自己的下一个阶段能像印象派这样收放自如,毫无顾忌的表达自己的感受。

在这一次的底色实验中,我前前后后想了2-3个实验方向,最后往往是第二天就要否定前一天的笔记。我想关于底色这个阶段,我欠缺的知识还很多。

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