2019 – Gig Violins

Designing a new Small Viola

Instrument Making

The first two violas I made were on the larger side, large enough that it was a bit challenging finding a case that would safely fit them (though I have now found a few good options, luckily!). They both sound fantastic, but are certainly designed for taller players. I’ve decided that my next challenge will be making a smaller viola for players looking for an instrument of a more manageable size.

For this instrument, I decided to design my own pattern using Kevin Kelly’s ”four circles” method, a tool for drawing outlines using geometric principles. The design I came up with is similar to the Conte Vitale Andrea Guarneri viola, though my design is recognizably different enough that I feel comfortable calling it my own.

A few of my drafts (there were nine or so). The Andrea Guarneri viola I analyzed is up in the top left.

Using Italian spruce from the Val di Fiemme (where Stradivari ostensibly got his spruce) and European maple (from Slovakia, I believe).

Working on another Kreisler model at the same time as the new viola. Viola on the left, Guarneri violin on the right. Plates jointed and glued together.

Basic outlines are done for these instruments, in addition to the ribs.

New Viola – part 6 (varnish, set-up)

Instrument Making

The final varnishing and set-up of the viola is now complete! Check the pictures below for some snapshots along the way.

After the first layer of ground (varnish)

After all the ground layers have been added.

Varnishing is done, and many days of drying have slowly passed. Now it’s time for set-up! These are all the parts that need to be added to make it a playing viola.

New Viola – part 5 (closing the box, fitting the neck)

Instrument Making

This week, it’s time to finish the viola “in the white” or do everything before the varnish is applied.

The linings, which are 2mm think strips of spruce are glued to the inside of the ribs. This gives more surface area when gluing the plates to the ribs.

The mould had now been removed, and I’m gluing the linings to the face-side of the ribs.

Fitting the bass bar perfectly to the top takes hours of work. The fit has to be precise or else any number of issues may arise.

Gluing the box shut. This always feels like a big step being accomplished.

The neck has been morticed into the box.

The neck needs to be carved into a playable shape. This step is very important, since the neck is the main point of contact between player and instrument.

Just a bit of fun- Gillian’s viola on the left, the new viola on the right.

View the next article here: New Viola – part 6 (varnish, set-up)

New Viola – part 4 (the scroll)

Instrument Making

This past week, I’ve been working hard on the scroll for this new viola!

I use the bandsaw to cut out the outline of the scroll. I like to paste a picture of the model on the wood to give me an accurate guide.

Cutting out the first turn of the scroll.

First turn has been cut, and the area around the pegbox also removed.

Cutting the second turn. Here, we’re running into a bit of trouble – a sap pocket (the brown section).

The sap pocket runs deep and is inconveniently located.

Nothing to be done except replace that side of the scroll.

Luckily, there was plenty of spare wood when cutting the outline. I was able to easily find a piece big enough and with very similar grain to replace that side.

The scroll is rough-carved at this point. Now is when I like to clean out the pegbox. I start by drilling holes to the correct depth, then going at it with a small chisel.

Cleaned up and relaxing with Gillian’s cranes.

The replacement is visible, but not too obvious. I think it adds a bit of character.

View the next article here: New Viola – part 5 (closing the box, fitting the neck)

New Viola – Part 3 (rough thicknessing, f-holes)

Instrument Making

After the purfling is glued, I can clean up the edges and finish the arching of the top. After that, I carve out the inside and cut out the f-holes. Pictures below.

I’ve cleaned up the arching here to more-or-less its final shape. The edges are left rough still until the body is glued up.

I use my drill press to give me guide depths so I know when to stop carving. These are all leaving 5mm of material, which gives me plenty of margin for error.

Next step is to rough out the inside to those depth holes.

Once the inside is cleared out to around 5mm, I can start on the f-holes. I used a hole-saw specially made for this purpose this time around (thanks Mom and Dad for the birthday gift!)

I use a coping saw to get the general shape of the holes, and refine the shape with a very sharp knife.

This is after a bit more clean-up. They’re starting to get close!

Here comes the fun (but tedious) part. I use a thumb plane to gradually decrease the thickness of the top to get it just where I want it. The caliper is an invaluable tool at this step, though I also gently flex the plate to get a feel for what’s going on mechanically at each step.

View the next article here: New Viola – part 4 (the scroll)

New Viola – part 2 (rough arching, purfling)

Instrument Making

On the violin family instruments, purfling is used to protect the edges from damage as well as to add another layer of elegance. Cleaning out the channel and fitting the purfling perfectly in the instrument plates is one of the most time-intensive tasks for me. I always breathe a sigh of relief when it’s been glued in.

I like to do some rough arching before I inlay the purfling. Here, the platform around the edges has already been leveled in preparation for the purfling channel.

The long arch is one of the most distinctive features of the da Salo instruments I’ve studied. This one is still in progress.

In order to see the arching, a dark room with a directional light makes all the difference.

The purfling channel has been cut, now just cleaning up the corners before fitting the purfling.

Corner closeup, about halfway done with the cleaning.

The purfling is “dry fitted” before gluing.

Purfling is glued in place! Now I wait until it dries before the next step.

View the next article here: New Viola – Part 3 (rough thicknessing, f-holes)

Starting a new viola – pt 1

Instrument Making

I’m getting started with a new viola build this summer. I’m using a slightly modified version of my previous viola, which was based on a Gasparo da Salo instrument. Here are the first few steps:

The first step in building a new instrument is joining two book-matched pieces for the top. Sometimes, it is also necessary to do this for the back when not using a one-piece back. This step requires incredible precision because the joint needs to be perfect. I use a long (and very heavy) jointer plane to get the job done.

Blocks are glued into the mold at the corners, top, and bottom. Those blocks are shaped and then the ribs are bent to fit perfectly around the mold and blocks. The bending iron (pictured on right) heats the wood so that it may be bent.

The outline of the instrument is traced on to the top and back plates.

After the rough shape has been cut out of the plates.

View the next article: New Viola – part 2 (rough arching, purfling)

Building a violin from start to finish

Instrument Making

A few photos of the process.