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Violin Making
Cello Rib Doubling with a Vacuum Bag

Cello Rib Doubling with a Vacuum Bag

We have a cello in the shop with four very thin and multiply cracked ribs, the traditional fix is to repair the cracks and then  "double" the rib by laminating a second layer of  new wood to the inside of the original Structural and tonal considerations How to add...

VSA 2014 – Silver Medal for Cello Tone

VSA 2014 – Silver Medal for Cello Tone

Violin Society of America holds an annual conference and every second year the conference is combined with an international violin making competition. This week long event is a great place to pick up inspiration for new things to try, to look for answers to questions...

Beauty in violin repairs

Beauty in violin repairs

Opening up an old instrument you never know what you will find; players may know that their instrument has a lot of old cracks but they usually have little idea of what it looks like on the inside. While for a collector the ideal may be an instrument in “as new” condition, decay is inevitable and there is a certain beauty in the repair work itself

Violin making Safari – Pacific Northwest    2013

Violin making Safari – Pacific Northwest 2013

I’m taking a working vacation, spending a couple of weeks with Mark Moreland in Battle Ground, WA. Along the way, I’ve been dropping into some of the violin shops to visit old friends and make new acquaintances. Most of these violin makers I’ve met at makers conferences but have never visited their shops

Violin corner block replacement

Violin corner block replacement

I’ve come across a couple of violins like this Storioni where the corner blocks had apparently been replaced. Signs of this are: none of the linings have been morticed into the blocks, and the linings ends have been cut on a line parallel with the line that bisects the rib miter allowing a new block to be slid into place.

Violin holding jig

Violin holding jig

This violin holding jig caused a deal of interest in the Robertson's shop. It's a dynamic version of one I saw used by Malcolm Siddall at the Welsh school.  Its essential feature is that it holds the work at both ends and there is enough space beneath the work to take...