Carving a violin top. The fixture is a rotating turntable that can be clamped in any position to accommodate any carving angle that the wood fiber dictates. I have constructed the tool cabinets and working platforms in my shop for peak efficiency.
Many clamps are needed to laminate the Ancanthus decorated ribs on the division viol form.
The decorated division viol is clamped for final assembly.
A bench mounted press is used to glue the sound post bar into the back of the decorated division viol.
This division viol neck is reenforced with layers of carbon fiber to make it stiffer. Carbon fiber is as strong as steel but extremely lightweight. It follows the curve of the neck into the heel, a particular point of weakness for larger instruments, especially cellos. As the flexibility of the neck absorbs sound energy, the stiffer neck contributes to a more focused and powerful sound.
Carving a gamba scroll.
Ready to assemble!
The neck is aligned with a laser for maximum accuracy.
The neck is aligned with a laser for maximum accuracy.
I use historical varnishes that need the sun to dry. These varnishes are the same mediums that the renaissance masters used on their paintings and made for me by Alchemist mediums. They are more work than a modern varnish, but the results are worth it. I enjoy working with the natural rhythms of the seasons and feel it connects me with the earth. In the background are my organic vegetable beds.
