Violin Making Picture Diary

The fine art of violin making has been going on since the 1500's's virtually unchanged.  With the exception of a few changes to the neck length and angle, violins look the same now as they did then. Instrument making procedures have been mechanized but most fine violins are almost completely made by  hand as they were 300 years ago. The following description briefly explains the basic process of making a violin by hand. Click on thumbnail picture to download larger picture.

     The violin maker will first decide what characteristics they want in a violin and pick the wood to aid in that goal. Sometimes a tighter grain will work better for a particular purpose. Machine made instruments don't go through this kind of individual treatment.

     The top (spruce) and back (maple), or "plates" are made from 2 pieces are what we call "book matched". They are split or cut down the middle from 1 piece, flattened and then glued together along the edge from the outer most part of the tree. This "center seam" must be a perfect fit and square on its gluing surface. This seam will act as the center of the instrument and as a reference to all additional work that follows. After the glue sets up the surface is again flattened and is made ready for the shape of the top or back to be transferred. 

     Before the top or back can be cut out the sides (ribs) must be made. They are built over an "inside form" of plywood that will be removed at a later time. The ribs are made from maple strips that are scraped to a finished thickness of about 1.2 mm thick. Blocks of spruce or willow are temporarily glued to the form and trimmed to the proper shape to hold the ribs firmly to shape. They will remain in a smaller version when the instrument is completed.  These maple strips are bent wet around a hot "bending iron" until they maintain the desired shape. They are then glued to the shaped blocks and flattened in the horizontal plane.  

    Once the "ribs" are finished, they are clamped onto the top and back plate, traced and the plates are cut out with an added margin for the overhang. The curve of the plates are then carved inside and out to finished thicknesses from 2.5 to  5 mm depending on the makers preference and specific tonal characteristics needed. Areas are left flat  on the inside for the gluing surfaces and the "f" holes are cut into the top. The top will also receive a "bass bar" to it's inside surface that supports the top, enhances the bass frequencies and slows the sound down.  All of these are done to tonally enhance the sound and are adjusted to the individual instrument being made and the wood that was selected. The plates will also receive "purfling", which is a decorative inlay just inside of the outer edge. This inlay both strengthens the instrument and adds a decorative edge that enhances the instruments look and sound as it frees up the plate to vibrate almost like a bellows. The plywood form is removed from the ribs and the plates are glued on. The edges are cleaned up and the "body" of the instrument is set aside while the neck is carved.

     The neck or "scroll" is also made from maple and is carved from a solid block. It is first squared up and then the shape is transferred from a pattern to both sides so that it will remain symmetrical.  The "scroll" portion is carved by hand with a series of gouges and chisels of different curves and widths. The scroll is frequently the most artistic portion of the instrument and is a "fingerprint" of the maker and their craftsmanship. Many of the more commercial quality of instruments import pre-made necks to save time and to reduce the craft ability that is needed. Once fully carved it is fitted with the fingerboard and set into the body. The setting of the neck is a complex process involving many angles and finished measurements.

     The instrument is then completely gone over from tip to toe, making sure that no oils or dirt remain to spoil the look once varnished.  The varnish is applied. Two type of varnish are used on quality instruments, oil or spirit. The difference is speed of drying times and number of coats that can be applied. Typically the old Italian makers used oil varnishes while the German and modern Italian makers used spirit or alcohol based finishes. Between 5 and 10 coats are applied while waiting for drying times between each. After the varnish dries it is rubbed out to the desired sheen and then the instrument is set up with pegs, tailpiece, bridge and strings. The sound post, a small spruce dowel is fit between the inside of the top and back on the treble side and adjusted for sound. Most hand made instruments will spend some time in the makers shop for adjustments over a few weeks.

As I get more pictures I will add them and some additional detail.