Winter 2021
Winter 2021
The low winter sun is bringing beautiful light to the shop.
I’ve been working on a range of projects this fall – a new violin is getting its final coats of varnish this week, a new project is starting, and I’ve had a few extensive repairs.
This neck set was one of the most recent projects completed.
Fall 2021
Fall 2021
I have resumed work in the shop after a summer off (although I was finishing two commissioned violins that have since gone to their new homes – the photos below are of a beautiful Amati-inspired violin with high arching and a clear, sweet sound.)
Coming up this fall are a series of complex repairs that will keep things interesting as the weather gets colder. Stay tuned! 
Introducing Brigitte Ouellet
Introducing Brigitte Ouellet
Summer 2020
Brigitte Ouellet has joined me in the shop at Wallace Violins. She’s a talented fiddle player who plays a custom 5 string violin that I built for her a few years ago. She’ll be managing my rental violins and assisting with lots of projects in the shop. Having Brigitte here means I’ll have more time to devote to building violins and doing repairs and rehairs. If you have any questions about rentals or anything fiddle related, please contact her.
brigitte@wallaceviolins.ca
It has been incredibly fun to have Brigitte in the shop training her to prepare bow hair hanks and dye rainbow bows. She’s cleaning fiddles and tuning them up, ready for the start of lessons in September.
She also teaches fiddle in Powell River (currently online only), and she might have a few spots left. If you’re interested, you can contact her!
Summer 2020
Summer 2020
I am resuming work in the shop in mid-August. I won’t have quite as much time as I usually do, but I will be able to support your music with repairs, rehairs, restorations, violin rentals, and sales. I continue to spend as much time as possible making new instruments. Below is the “Plowden” Guarneri del Gesu inspired violin that I hope to complete this summer. This violin is spoken for, and I do have a bit of a wait list. Please contact me if you’re interested in a handmade instrument and we can talk.
Winter 2020
I completed a “King Joseph” Guarneri del Gesu inspired violin. I decided on a full arch for the top and back and I got the sound I was after- full and rich and very sweet. The bass is strong and I’ve had the pleasure of playing it and hearing it open up. It is sold, but I certainly plan on making more of this model. It is 355mm long and has the standard playing length of 195mm. I used an oil varnish and am very happy with the look I achieved- I gave a little gentle antiquing. I don’t aim for a strong antique look, but I really like the creative experience of gently wearing the varnish and adding a bit more personality to each instrument.
Spring 2020
Violinmaking and rehairing bows
Winter 2020
I’ve been working on a King Jospeh Guarneri inspired violin that will be complete in the spring. Lots of rehairs and set-ups as well, keeping those players playing. I’m doing a quick update so no photos. I’m spending lots of time at the bench and away from the computer! Up next are plans for another Plowden inspired violin and an Alard inspired violin.
Neck re-set and various projects
Neck re-set and various projects
Summer 2019
On the bench right now- a neck re-set and many many rehairs. It’s the time of year to gear up for the start of the school year. I have several violins in various stages of varnishing and some interesting repairs in the works. I’m waiting for the delivery of a beautiful 1/2 size cello that I will set up for a talented young cellist. I have a full size cello here that is waiting for me to convert into a 5 string cello. That project was originally slated for the spring but too many other repairs bumped it off the schedule. I’m hoping to get it complete….eventually.
Fiddleworks Fiddle camp on Salt Spring Island
Fiddleworks Fiddle camp on Salt Spring Island
Summer 2019
I had the pleasure of working at the 20th annual Fiddleworks Fiddle camp on Salt Spring Island. It was a lovely week on Saltspring with at whole bunch of great musicians. I repaired bows, fixed fiddles and rescued players with broken strings. I love being a part of the music and supporting musicians. And the final concert in Ganges was truly inspiring.
PRISMA basses
PRISMA double bass set-up
Spring 2019
PRISMA purchased 4 double basses, two of which required the installation of the C extension. It was quite a shift from my usual work on violins and cellos. I did have 3 basses in the shop at one point, but even one bass certainly took up a lot of space. These instruments were gorgeous and the set-ups worked out very well. I used 3 tree Despiau French bridges and Kaplan Orchestral Medium strings. I used the KC Strings C extension.
Custom 5-string violin
Custom 5-string violin
Winter 2019
I completed a custom build for a violin player who wanted a slightly smaller 5-string violin. I used Big Leaf Maple, one piece, for the back and Sitka Spruce for the top. The style is a combination of whatever the client liked from various other violins- Amati style f holes and corners, but a fuller, less pinched arch. The varnish is very light and warm. One of the pleasures of commissioning an instrument is that your instrument is truly your own- you can decide the style and colour and what tonal palette you’re aiming for. I love building instruments that fit my clients. You can still have a big sound from a slightly smaller body- and it is so much easier to play.
“Guarneri Plowden” varnish
“Guarneri Plowden” varnishing
Fall 2018
After looking at lots of posters of old instruments, my client chose to have her Guarneri Plowden-inspired violin also have varnish inspired by the original. The original has a lot of wear and damage, as you could except from existing for 100s of years. I prefer not to inflict the same level of wear on a new instrument, but I do give it a bit of character and story. Having a little unevenness to the varnish and some worn areas and maybe a few dents can make the violin look more alive. There’s also that lovely benefit that when you inevitably accidentally injure it for the first time, your little dent or chip won’t glare at you accusingly. It will take it’s place amongst the others, adding to the story.
Guarneri Fall 2018
A Violin Commission Inspired by the “Plowden” del Gesu
Fall 2018
After a busy summer and a very busy September getting all the local violinist ready for their lessons, I am finally back at the bench with a violin to finish. This commission is another small violin- a 350mm violin inspired by the “Plowden” del Gesu. I am using local Big Leaf Maple for the ribs, back and scroll, and Alpine Spruce for the top. I chose to carve the scroll before completing the body. Now I am finalizing the back arch before doing the same to the top. I will then temporarily glue the top and back to the rib structure to finalize the outline before installing the purfling. I had the pleasure of a visit from the musician who has commissioned the instrument and we had a lovely time talking about the violin and we are both eager to hear it! We’re quite a few weeks away though- once the violin is done the varnish process takes many weeks.
Shop Windows!
Another Window in the Shop
Summer 2018
Because you can never have too much natural light….the window to the far left is a new addition to my shop, and the one beside it was replaced. My main workbench windows face north, and my new wall of windows faces west. I love the natural light pouring in, and the view of Scout Mountain and my front garden. This all happened while I was away at the annual Fiddleworks Fiddle Camp, which I attend every year to connect with the fiddling community and support the musicians there with rehairs, strings and repairs.
Alard 2018
A Petite 4/4 Violin Inspired by the “Alard” Amati
Summer 2018
I was commissioned to build this violin for a lovely violinist who wanted an instrument that was more comfortable to play, and had a beautiful rich sound. After discussing different models and wood choices, we settled on the “Alard” Amati as a starting point. It is on the small side for a full size violin at 350mm rather than the more common 355mm. Yes, that half a centimeter can make a big difference! After trying instruments I had made using European wood and using the local stuff, my client chose a fully local violin- Sitka Spruce and Big Leaf Maple. The Sitka is higher in density and gives a gorgeous warmth. Both woods are more colourful than their European cousins, and make a great base colour to start the varnish process. I completed the violin in July. It is beautiful and delicate looking, with a rich warmth. And it is just the right size!
Spring 2018 Violinmaking
Violin making
Spring 2018
It’s been a busy time in the shop with lots of building. I started three instruments- a petite full size, inspired by the Alard Amati, another small full size, inspired by the Plowden Guarneri del Gesu, and a small 5-string, inspired by various lovely makers of the past, but my own model. I like to start a few projects at the same time, but then I complete them one by one as time permits. I like the focus of completing one instrument, fully immersed in the process. I try to complete a bunch of repair work and then set aside many weeks to build.
Varnish Progress
Varnish Progress
Spring 2018
The violin from my previous post that was set up in the white. Here’s a progress shot. It will be antiqued. This is about half way through the process.
Huberman Strad in the white 2018
Set up “in the white”
Winter 2018
Sometimes deadlines are hard to meet! I needed this violin completed for several musicians to try, but I wasn’t able to get the varnishing done in time. Luckily, a violin can be set up and played with out varnish. It gives an idea of what the violin will sound like. The violin sounded great! I was able to show it off, then remove all the fittings and start the varnishing process.
Huberman Strad 2018
Purfling Party
Winter 2018
Purlfing isn’t just for looks (though it does a nice job of outlining the violin). The purfling also protects the instrument from cracks that might start in the edge. The purfling is inlayed in the top, acting as a barrier to edge damage.
Tapestry Music Victoria
A visit to Tapestry Music in Victoria
Fall 2017
I had the pleasure of visiting Meg at the new Tapestry Music in Victoria. I’ve been busy in the shop this season building violins and haven’t posted as much as usual.I brought these lovely violins. They are available to try. A Guarneri model made in 2012, and a freshly converted Northern Sun Fiddola.
Oskar C. Meinel Sound Post Crack Repair
Oskar C. Meinel violin Sound Post Crack Repair
August 2017
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- Sound post crack
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- The top is removed
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- The label with stamp
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- The top sealed in a vacuum bag in preparation for pouring the plaster
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- The plaster is poured in the mold, with a backing piece of wood placed on top
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- The cast that will support the top during the repair
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- The bed of the patch- the wood is removed and new wood will fit into the area
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- Fitting the patch
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- The patch is glued and excess wood is removed
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- The completed patch
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- A few cleats
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- The top is ready to be glued to the body
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- Clamping the top on the ribs
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- The violin is ready to go- with a new soundpost fitted inside
PRISMA 2017
PRISMA 2017
June 2017
I’m the official luthier of PRISMA- the Pacific Regional International Summer Music Academy. I’ll be assessing instruments, tweaking set-ups and rehairing bows for the two week festival. PRISMA is a great event. Check it out.
Refining the Outline
Refining the Outline
January 2017
Rough arching complete, I tack the violin back and top onto the rib structure with a bit of glue. Then I refine the outline, and then remove the top and back from the ribs. Then I begin to carve the channel.
Polishing
Polishing
December 2016
I’ve had the pleasure of playing this violin for the past 6 months or so, but it’s time to polish it up and make final adjustments, put on some new Evah Pirazzis and send it to Larsen Music in Victoria.
Laura Wallace violin made from Sitka spruce and Big Leaf Maple. Polished and ready to play.
Laura Wallace violin scroll with certificate in background.
Laura Wallace violin, Big Leaf maple back, red varnish texture.
Northern Sun Fiddola
Northern Sun Fiddola
November 2016
I completed another Northern Sun Fiddola this month. This one is loosely based on the Huberman Strad from 1713. I took a few liberties with the varnish, but I was inspired by the red violin played by Joshua Bell. I sent this one to Larsen Music in Victoria.
Northern Sun Fiddola Front
Northern Sun Fiddola Back
Northern Sun Fiddola Scroll
3/4 Cello Set-up
3/4 Cello Set-up
November 2016
I cut the bridge for this beautiful new 3/4 cello for a lovely cellist in town. She needed a great instrument in a smaller size. I set this one up with Larsen strings and it sounds fantastic.
3/4 cello ready for set up
Bridge cutting in progress
Cello bridge complete.
5- String Development
5-String Model Development
October 2016
I’ve become an expert on 5-string conversions of violins and violas. I’ve made more than a dozen Northern Sun Fiddolas, which are regular sized violins that I receive in the white and convert to 5 string, varnish, and set up. I’m thrilled to be finally putting my experience to work and developing a 5-string violin of my own. I used a long pattern Strad as a starting point, and used some measurements from the Strad Viotti. I’m creating an instrument that is slightly larger than a standard violin, but smaller than a viola. I like the playability of the violin size, but I wanted to get a bit more meat out of the C string. I’m excited to hear how this sounds and continue to develop the model.
Model development and template making for new 5-string
This will be a 5-string violin – ribs, neck block, mould with blocks attached, front and back.
Ribs complete, outline drawn on the front and back plates.
Plates cut out.
5 String ribs, neck block cut out, top and back cut out.
Rough arching the top.
Rough arching the back.
The back- the rough marks are from a toothed finger plane.
September 2016
New School year= Rehairs and repairs
September 2016
September was busy with rehairs, rentals, and repairs. After the initial hub-bub has settled down, the fall season is a time for violin making. This year I started 3 instruments at once- the 5 string, a Strad model, and a Guarneri model.
3 violins ready to carve.
Neck setting and Varnishing
Neck setting and varnishing
August 2016
Neck setting…
Neck setting in progress on the European twin.
The twins: the red violin is made from local wood (sitka and big leaf maple), and the brown violin is made from European wood.
The twins: both build on a Strad Huberman model.
The Twins: scrolls
Salt Spring Fiddle Camp
Fiddleworks Fiddle Camp on Salt Spring Island
July 2016
It was another lovely week of fiddle music at Stowel Lake Farm for this year’s fiddle camp. I did some rehairs, repairs, and sold some special rainbow bows during the week. As usual, the camp was full early on. If you’re looking for a great week of music, check out the Fiddleworks camp. Registration starts March 1st, so mark your calendars. I attend every year as camp luthier.
In-house luthier for PRISMA
In-house luthier for PRISMA
June 2016
I attended the two week long PRISMA festival this year as in-house luthier. PRISMA (Pacific Regional International Summer Music Academy) is a gathering of musicians from around the world to study with renowned teachers and gain experience playing in a professional orchestra setting. I met players for all over the world and had the pleasure of seeing many violins, violas, and cellos. Of particular note was the Stradivarius belonging to Herbert Greenberg.
Bringing an old violin back to life
Bringing an old violin back to life
March 2016
Fitting the soundpost
Planing the fingerboard
Fitting the bridge
Set-up complete
Wallace Violins featured in BC Musician Magazine
Wallace Violins featured in BC Musician Magazine
March 2016
A couple months back I was interviewed by Joy Mullen for an article in the “BC Instrument Makers” series in BC Musician Magazine. Check out the article online here, or read it at your local coffee shop.
Antiquing a Northern Sun Fiddola
Antiquing a Northern Sun Fiddola
January 2016
I’ve been playing around with antiquing lately. I’m moderately obsessed with the Huberman Strad from 1713, so I often try to emulate it. I love the red on the back, and how it is worn so much from playing. It is a strange process to “age” a violin by a few hundred years over the course of just a week!
Violin Making
Violin Making
December 2015
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- Scraping the top
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- Blending the channel
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- Scraping the back
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- Labeled and ready to go
John Robertson Violin Crack Repair
John Robertson Violin Crack Repair
November 2015
This violin has lived 150 years and it shows! There have been several big repairs in its history. Some of the big cracks weren’t cleated at all, so they opened up once the violin was strung up after a long period of inactivity. I took the top off and was able to see that makers signature along the back- unfortunately partially covered by an old repair. But it’s still clear who made it-John Robertson of Aberdeen, and the date- 1863! Here are some photos of the repair.
Finalizing edge
Finalizing Edge of Strad Model
November 2015
Knives, files, rasps, abrasives. The body is temporarily glued together to complete the final edge outline. It looks like a violin body but it’s solid! (well, the top plate and back plate are). The top and back will come off and I’ll begin work on the purfling.
Varnish Making
Varnish Making
October 2015
Of course there’s a lot of mystique about varnish out there. I’ll continue that here. I’ve been making varnish lately, using a very, very, very old recipe.
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- Filtering Varnish
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- Varnish!
Wood chips!
Wood chips!
September 2015
One piece back of local west coast Big Leaf Maple. Strad model.
Fiddleworks Fiddlecamp on Salt Spring Island
Fiddleworks Fiddlecamp on Salt Spring Island
July 2015
I’ll be at the Salt Spring Island Fiddleworks Fiddlecamp July 20-24th. Check out fiddleworks.ca to see what all the fuss is about!
Violin on display at Gibsons Public Art Gallery
Violin on display at Gibsons Public Art Gallery
May 2015
My most recent violin is part of the Woodworking on the Coast exhibition at the Gibsons Public Art Gallery. It is varnished a warm golden brown and is based on golden period Stradivaris. I had a few days to play it before it went on display and it’s got a huge sound- big and strong and powerful. The exhibition ends June 21st and then I get to play it for a month before it’s ready for sale.
Hopf Repair Complete
Hopf Repair Complete
April 2015
Here are a few more shots of the Hopf violin. I played it once I completed the set up and…wow. What a sound. Deep and rich and full. It was such a pleasure to hear the violin sing again as it should despite its damage over the years. If you scroll back to earlier posts about this instrument, you’ll notice that it had two bass bars! It’s sounding great with one (as it should). Below are photos of the neck while setting it, the completed neck set, the completed end bock repair, and a final shot of the violin.
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- Neck while setting
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- Neck set and touched-up
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- Repaired endblock area
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- Hopf violin restored
Hopf repair progress report
Hopf repair progress report
March 2015
Go back a few posts to see how this violin looked at the start…
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- Lower bouts with lining removed
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- Centre bout worm damage
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- Rib corrected
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- Gluing cleats to secure cracks
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- Cleats trimmed
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- New top block
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- Centre bout lining removed
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- Correcting warped rip
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- Rib corrected- top view
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- Gluing cleats near neck
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- Gluing new linings
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- Gluing body together
Fingerboard Planing
Fingerboard Planing
February 2015
Here’s a shot of a fingerboard after an initial go over with the plane. You can now clearly see all wear caused by the violin player’s fingers! Players who use their instruments a lot eventually create such deep “potholes” in the fingerboard that the ebony needs to be planed smooth again to eliminate any buzzes that may have developed. This instrument is a nice German instrument played by a professional violinist from the lower mainland. I continued to plane the fingerboard to create a perfect surface- but I didn’t take a photo of that.
Hopf Violin Repair
Hopf Violin Repair
February 2015
I have the pleasure of bringing a beautiful old violin back to life this month. It has survived many challenges in its long life. Unfortunately at one point it was incorrectly repaired so I have to undo some major damage. However, it will be a beautiful violin again soon. Here are some photos of the violin taken apart. Note the two bassbars- something I’ve never seen before. The additional bassbar on the treble side was made of cedar. I have now removed it. My focus for the next few days is to carefully remove as much of the modern glue and incorrect repair so that I can begin to carefully restore the violin. An update will appear soon.
Huberman Strad Fiddola
Huberman Strad Fiddola
January 2015
I’ve been trying to catch up with orders for Fiddolas. I’m almost complete my Huberman inspired Fiddola. It’s still completing drying and needs more antiquing, but here are some in progress glimpses of it on the workbench. I’ve started work on my newest 5-string violins; my “Kruse Strad 1721 Fiddola ” and “Red Lupot 1808 Fiddola”. They’re both in the taken apart stage getting shims and re-thicknessing the tops right now. Photos next month.
Huberman Strad fiddola front in progress
Huberman Strad fiddola back in progress
Strad Model Violin Ribs
Strad Model Violin Ribs
December 2014
Bending ribs on a Strad model violin. Willow blocks and lightly flamed European maple.
C-bout ribs bent
Rib structure bent and glued- ready for trimming
German Fiddola Receiving New Neck
German Fiddola Receiving New Neck
November 2014
I’ve had this old student viola kicking around for years. It has very wide set f-holes, and originally had a screwed on neck with a very narrow fingerboard. Perhaps it was a child’s viola- it is the size of a violin. I could have restored it back to a violin, but it was odd and seemed destined to be a 5-string. So it’s finally getting there. The original neck was too thin and odd, even if it were to be a violin again. And the pegbox was thin. Not a worthy candidate for a neck graft. The perfect candidate for a new top block (original one was split in two) and a new neck and scroll. It is an unlabeled instrument; I’ve been calling it the German Fiddola.
Before neck setting
Neck setting in progress
5-string neck set and ready for varnishing
Stradivari “Huberman” 1713 Northern Sun copy
Stradivari “Huberman” 1713 Northern Sun copy
October 2014
I’ve been having fun copying the 1713 “Huberman” Strad. The real Huberman Strad is currently played by Joshua Bell. This was a fun little side project a part from my making “from scratch”. I took one of my Northern Sun violins and varnished it to look like the famous Strad.
Colour is built up gradually, starting with a golden yellow underneath. You can see I’ve been scratching up the violin and adding marks to imitate the natural abuse that the violin would have suffered over several hundred years of playing.
Viol Bow Rehair
Viol Bow Rehair
September 2014
I’ve been busy lately with lots of regular ol’ rehairs, but recently a viol bow came across my workbench. Modern bows (the kind pretty much everyone uses, if you’re not sure what kind of bow you use, you’re using a modern bow) require three wedges when rehairing: tip wedge, frog wedge and spreader wedge. They are all distinct and serve specific purposes. The viol bow only requires two wedges, a tip wedge and a frog wedge, and both mortices are about the same. The tip doesn’t have any reinforcement on it like a modern bow- no ivory, ebony or silver. It makes for a trickier rehair. It turned out beautifully, but I neglected to take a picture of the completed bow.
The Red Violin (1/4 size)
The Red Violin (1/4 size)
July 2014
I had the pleasure of setting up this gem from long ago. It is labeled “A La Ville de Padoue, Nicolas DUCHENE”. It’s from the Thibouville-Lamy shop in France from many, many decades ago. It is the nicest sounding 1/4 violin I’ve played, and I’ve played many little fiddles! It was in my shop for a set up, but came back a month later because of an accident that cracked the top. I was able to use my Hart-style clamps to seal the crack and make it essentially invisible. It is much easier to make a crack “disappear” when it is fresh, before years of dirt, oil and grime coat the crack edges.
Preparing a Fiddola for varnishing
Preparing a fiddola for varnishing
June 2014
I like to perfect the fingerboard and nut before I begin varnishing. I temporarily glue on the fingerboard and plane it and then fit the nut. You can see in the photo below the wider fingerboard that I have placed on the violin. The ebony flares out, allowing for that extra fifth string. The fingerboard is just a few mm wider than a standard violin fingerboard, but it makes all the difference for playability. If the strings are too close together at the nut it can be hard to get the precision you need. A fingerboard that is too wide can also creates its own issues. I’ve made many fiddolas and done many conversions, and I have found the perfect width for comfort and playability.
My last fiddola has sold, and I didn’t take any photos of it in progress. But here it is on the workbench before it headed out the door….
Northern Sunset Violin complete
Northern Sunset Violin completed
June 2014
I completed the varnishing a few weeks ago and let the violin dry for two weeks in my UV cabinet. I then set the violin up with rosewood fittings and a Wittner tailpiece. I chose Obligato strings, one of my favourite for their warm, powerful tone. By request of M. I dyed the hair on her new bow with” reddddd-orangeeeeee-yellowwwww” to echo the idea of the Sunset that inspired the varnishing. They look great together!
Northern Sunset Violin final set-up
Northern Sunset Violin: final set-up
June 2014
The varnish has dried. I polished it and completed the set-up. I remove the fingerboard for varnishing, so below you can see the photo of my special fingerboard clamps for re-gluing the fingerboard. In the second photo I am using my peg-hole reamer to fit the pegs. Then I put in a soundpost and cut the bridge.
Northern Sun Varnishing
Varnishing
May 2014
Below are some photos of the varnishing process as the violin goes from white to fully varnished. The completed violin is not ready for photos yet- it’s still drying. The colour pallet is gold and red, and the idea was to capture the warmth of a sunset. This was by request of M. who is in young violinist moving up to her first full size. Instead of a solid colour overall, I followed the natural wear patterns of older violins in order to give the violin more personality and to allow for more colours. You’ll see that the fingerboard has been removed for the varnishing, but in one photo it magically reappears. I just placed it on the violin to have a visual of what it will look like once set up. They’ll be photos of the completed violin soon.
Crack clamps arrived!
Crack clamps arrived!
May 2014
I ordered some great crack clamps and spreader blocks from Tom Durrant in Ontario. They’re similar to clamps built by Brian Hart in England. They are used to close cracks in the top and backs of violins. It’s more labour intensive than using the traditional method with a wide stretcher clamp that pulls the crack shut by pulling the edges of the violin together. These clamps allow for a more precise and controlled closing of the crack. They require the use of temporary cleats along the inside of the crack. Next time I’m doing a repair with them I’ll show you. Aren’t they pretty?!
Custom varnishing a Northern Sun violin
Custom varnishing a Northern Sun violin
May 2014
I’m working on preparing a custom violin for a young violinist. She selected her fittings and named her preference for the colour and shading of the varnish. M. would like a warm golden colour to remind her of a sunset. She’s getting a Northern Sun violin- these are violins that I purchase “in the white”, which means without varnish and fittings. It then allows me to customize the set up and the varnish, while still having a violin that is priced well for a student. Stay tuned for more photos of the varnishing process. The photos below show the violin after I have done the first treatment to darken the wood. Behind it is a violin I have made that still needs its neck set. You can see the paleness of the wood on my violin, and how the UV treatment has darkened the one I’m varnishing.
Rehair madness!
Rehair madness!
April 2014
I’ve had a big batch of rehairs to do lately. You can see that the coloured hair is quite popular. I dye the hair myself with bright hair dye (it works well on the horse hair). Kids love it, and it helps teachers too. They can explain where to play on the bow by referencing the coloured area. Since rainbow is the most popular, a teacher can say “play from red to purple”, or, “only in the green zone”. The hair responds well to the dye and it doesn’t effect how the hair plays on the strings.
Nearing completion of my latest violin
Nearing completion of my latest violin
February 2014
My last post ended with a photo of the purfling glued into the channel. After trimming the purfling and finalizing the outside arching, I flipped the plate over and began thicknessing the inside. I have a thickness punch that I use to create guides for gouging and planning. After getting things close to the final thicknesses, I cut the f-holes in the front. I fit a bassbar to the front and completed my final plate tuning to bring the top and back to their finished thicknesses. I’ve been working on the scroll all along, and have included a few photos of it in progress. Next up is to complete the scroll and set the neck!
Back to the workbench
January 2014
After completing my latest violin, I have begun work on the next. I’m using European maple and spruce and it reacts differently to the gouge than the local wood. It is also much lighter. Here are a few photos of the early stages from December 2013 and January 2014. I bent the ribs around the mould (Guarneri model), traced the outline and then cut out my top and back. I use a large arching gouge to rough out the arching, using templates to help keep me on track. After various small steps I picked out the purfling channel and inlayed the purfling. I’m now working on finalizing my arching before I flip the plates over and begin gouging out the inside.
Violin completed and set-up
Violin completed and set-up
December 2013
A few weeks ago I completed my latest violin. The varnishing went very well and the violin ended up a rich red brown. It is made from local wood. You can see in a previous post some of the construction photos. I set it up with rosewood fittings and Evah Pirazzi Gold strings. It has a big sound, and it is warm and even across the four strings. I am enjoying playing it every day and hearing it open up. It is already sold, but I’ve got another one made from European wood well on its way.
Fiddola
Fiddola
December 2013
I just completed set-up on my latest Northern Sun Fiddola. This one has a beautiful rich red-brown varnish. This time I chose to try out a Larsen C string and Evah Pirazzi’s with a gold E for the rest. I completed varnishing a few weeks ago and spent the last few days completing the set-up. It has a wider fingerboard, and a wider bridge to accommodate the 5 strings. It plays beautifully!
Scroll Carving
Scroll Carving
November 2013
Before I set the neck on my most recent violin, I took a photo of the scroll. This particular violin is now in the UV cabinet while the varnish dries. I’ll have photos of the completed violin up in a few weeks!
Building a violin
Building A Violin
November 2013
My most recent instrument is based on a Guarneri body. Here are a few photos of the process… the last few months have been spent gouging, cutting and carving. I am now varnishing.
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- The Guarneri mould with blocks
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- The rib structure used to trace onto the spruce top
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- Top and back cut out with bandsaw
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- Rough arching the back with an arching gouge
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- Carving the channel
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- The purfling is inserted and ready for trimming
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- The ribs have been removed from the mould and the top and back and ready to glue
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- Gluing the back onto the ribs
