Best Videos I found so far: https://davidesora.altervista.org/video/fasce-e-forma/
Learning to build a violin and using github as my notepad. Below notes are from many different sources.
The finest, air-dried, highly figured maple 50 years old or more is now virtually
unobtainable, unless you are lucky enough to know of a violin maker who is
retiring and disposing of his stock.
It is desirable that the wood for the major parts be quarter or radially sawn
(or split if you can get it, although this carries quite a premium).
For the front (or belly), straight-grained spruce is required.
A fairly fine to medium grain width is ideal. The front is almost always made
from two pieces; the wedge of timber is opened out like the pages of a book.
As this joint is on the centre line of the instrument, it makes a useful datum line,
as does the back joint if a two-piece back is being used.
Wood thickest in the centre under the bridge.
The pine should be quite white and brilliant like silk when split open,
avoiding anything like a reddish tinge, which indicates a most unhealthy growth.
The grain must not be too close or too wide, and must be disposed evenly
and straight from top to bottom of the belly. The grain of the back should
also run from top to bottom of the instrument. One is often asked,
why the belly should not have the grain setting crossways,
and it is often argued that the best makers have sometimes cut their backs so
that the grain ran across them.
The vibrations are transmitted along the fibres of wood quickest in this position
and under these circumstances, and in the second it will be remarked that the
tone of the Cremonese masterpieces is always most brilliant when this
perpendicular setting of the grain has been adhered to. Care must be taken
to select the pine neither too hard nor too soft in texture, and without
any defect, knot, stain, or other fault.
When similarly struck, the front and back, produce the same note.
Maple is much more slow to vibrate.
If the plates were of the same thickness, but being made of different thicknesses,
the back, when finished, is about a tone higher than the belly when finished
by the cutting of the ff holes and the affixing of the bass bar.
If the difference were less than a tone, the tone of the instrument would be
throbbing, and if more than a tone an even more unsatisfactory result would
be obtained. To ascertain the normal tone of a plate of wood, it must be
clamped firmly at a point where two nodal lines cross one another,* and
vibrated with a bow drawn along the edge. The note it then renders is the
lowest of which it is capable, and is called "its normal tone."
The back, sides (or ribs as they are more commonly known) and head or scroll are
all made from maple or sycamore.
Ribs - 1mm
Corner blocks are always formed out of well seasoned brown willow, not white willow
following closely once again the rule of stradivarius.
Linings are always formed out of well seasoned brown willow, not white willow
following closely once again the rule of stradivarius.
Lining 2mm by 5mm
The bass bar is always of spruce, of similar or slightly narrower grain than
the belly.
Ebony
The soundpost is of strong narrow grained spruce.
Sound post should be Xmm from the treble foot of the bridge where X is the thickness
of the belly where bridge is located.
Hard maple.
Mold is the form around which the ribs are built, and from which the whole
outline of the instrument is derived.
Mold is made out of plywood, between 12 and 18mm thick.
Mold is 4.5mm smaller from the external edge of the violin.
The only type of glue to use for a violin is the old-fashioned animal-skin variety.
The best of these is rabbit skin glue.
There is no suitable alternative, as for all joints, a wood-to wood contact
is essential, with no film of
glue between the two pieces. This type of glue is immensely strong, does not
deteriorate with age as long as it is kept dry,
and does not leave a visible glue line. Most importantly, the joint is reversible
with the application of heat and / or moisture, enabling repairs to be
carried out without further damage occurring during the dismantling.
Below diagram of the mould is based on many online sources. It is based on some of my calculations, it's not correct and not tested.
https://github.com/tretos53/Violin/blob/master/mold.pdf
The bridge should be directly centred on the notches of the f-holes (florentines).
If notches are uneven, the left notch takes priority.
Moving this upper base side out 0.5mm will make the instrument more strident
and brilliant and sparkling.
Anything over 1mm and it will sound like fingernails on the chalkboard.
Moving the upper treble side out makes the instrument more flute-like.
If you go too far it will sound like a cardboard box.
Moving this lower bout out 0.5mm, the voice of the instrument will become more
cavernous.
1-1.5mm voice will become hollow, and the tone will have no core, it won’t
travel through the concert hall.
The narrower waist will give you a quicker response while a wider one will
offer more power.
The wider and deeper the flame the mellower and deeper the sound the maple is
what gives a master violin its deep power or its masculine voice.
http://www.platetuning.org/html/woodworker_-_first_violin.html
http://davidofsantabarbara.blogspot.com/2016/08/breaking-stradivari-code.html
https://www.youtube.com/watch?v=JGBCHyy-xh4
Book: "You can make a stradivarius violin" by joseph v. A real book for the beginner. Full size maps of every part of the violin.
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