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.
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.
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.
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.