video sguscia fondo

[@josevelez7539]

David, violins made by the old masters such a Stradivari, Amati, and Guarneri among others may be worth in the millions today, but they did not give us detailed information and instructions like you are doing. Yes, it was a different era where perhaps it wasn’t as important to show a process and leave a legacy. Their legacy still ensures in museums and through those who are fortunate enough to put their hands on their instruments. YOU ARE LEAVING SUCH A WONDERFUL LEGACY THROUGH YOUR VIDEOS!!!! I am blessed to have tuned to your channel. Thank you for that gift and the rule books by which hundreds of violins will be judged all across the world. Keep up the good work!

[@DavideSora]

Thanks for the kind thought, much appreciated😊

[@11111nutzer]

Спасибо большое Davide! Очень полезное видео! Гениально понятно и наглядно. Ваши уроки очень нужны. Несмотря на то, что я учусь у двух сурипичных мастеров, Ваши уроки дают мне очень много! Ещё раз спасибо огромное! 🌷🤗

[@nilsonfractucello9471]

Master, your videos are inspiring. Pass all the calm and tranquility of a service well done. It is not at all tiring to see, quite the contrary. I am a student of luteria, and one day I intend to have at least part of his vast ability. Congratulations on your talent and your works.

[@paulpaxman]

Apprezzo molto non solo i tuoi bei video ma anche le tue istruzioni. Sono molto utili!

[@StevenBollman999]

Thank you, once again, Davide! You are a treasure!

[@gerardpeyrouty2216]

C'est absolument magnifique !!! Quel beau travail ! Vous êtes un artiste ! Merci beaucoup pour ces belles vidéos qui donnent envie de faire !!!

[@Stradivarius-xd4me]

Bravo, quelle maîtrise

[@nurgulcomak2460]

Dear Maestro, I could not fully understand the measurement and cutting depths of chisels. Can you please write me.

[@DavideSora]

I report below the translation of the captions, which in any case you can find in the description below the video: 02:18 - I use a gouge n°6 x 13.7mm with a radius of 13 mm for upper and lower bouts 03:45 - With a thickness gauge check from time to time the thickness reached, which should be 3.1/3.2 mm in lower and upper bouts, 3.4/3.5 mm in the C bout 07:35 - For the C bout I use a gouge more curved and narrow, n°7 x 11mm with a radius of 7mm To understand how the gouges are measured, you can see it in the video of the top plate fluting here: kzbin.info/www/bejne/gZPCdKZtrtJga80 Since the gouges have an arc-shaped profile, for each specific width of the channel you can calculate the depth, simply by making tests on scrap wood with the same thickness as the edges, tracing and cutting different channel widths, in order to adapt the width of the channel to the radius of your gouges, to obtain the desired depth and thickness at the bottom of the channel

[@nurgulcomak2460]

@@DavideSora grazzie mille maestro. the video is very informative.

[@camilolutier6173]

Ciao Davide. saluti. Buon Giorno Perché lasci solo 1 mm sul bordo del canale ( 2:51) Rimarrà così alla fine, quando arrotonderai il bordo Grazie.

[@DavideSora]

Per tenere canale più esterno e ottenere lo stile di sguscia e bombatura che voglio. Con l'arrotondamento finale la linea si sposta più all'interno, come puoi chiaramente vedere nella serie di video dedicati all'arrotondamento dei bordi

[@camilolutier6173]

@@DavideSora Grazie mille

[@davida.t.334]

Hello, thank you for your vidéos. why purfling is not done on closed box as described by Sacconi? I guess there is sequence reason?

[@DavideSora]

Because I prefer to have complete data on the finished plates, such as weight, thickness, shape of the arching, etc. before assembling the box. This is not possible with the closed box system, unless you disassemble the plates after finishing the violin, and I think they are very useful as a reference for the construction of the next violins.

[@sm9846]

would you please mention the size of gouge in this video ? Thank you !

[@DavideSora]

If you look on the description page under the video you will find the English translation of the texts, all the sizes of the gouges are mentioned. All my videos have the English translation of the texts on the description page

[@sm9846]

🙏🙏🙏@@DavideSora

[@profissaoglobal2]

Bravoooo!!!!👏

[@dartagnanize]

only a true master can use a chisel like this.

[@moneypenny174]

Maestro Sora, I understand that you use a n°7 x 11mm with a radius of 7mm for the corners. Here, I’m unable to get one that’s 11mm but I have a choice between a 12mm or an 11mm. Which would you recommend? Thanks in advance.

[@DavideSora]

Sorry, I don't get what you mean. First you say you can't find an 11mm wide gouge, then you say you have to choose between 12 and 11mm wide. What am I missing?

[@moneypenny174]

@@DavideSora oops! Sorry about my mistake. I have to choose a 10mm wide one or a 12mm wide one because I cannot find an 11mm wide one. Which would be best?

[@DavideSora]

@@moneypenny174 The 12mm one, because the important thing is that it is wider than the channel it has to cut, even the 10 mm one could work but it would be a bit narrow. In any case, even if the radius of your gouge does not exactly match mine, it would be a matter of adjusting the width of the channel accordingly to the thickness you need at the bottom of the channel, which remains the most important aspect to be respected.

[@pjomahony6771]

Super video's very well detailed

[@杨名扬]

Buongiorno maestro! Vorrei chiedere una cosa, dopo di rotondare il bordo della parte superiore, la linea della sguscia sarà continuata con la parte sguscia di nocetta? Non so se ho scritto bene! Grazie

[@DavideSora]

La linea della sguscia alla nocetta si finisce dopo aver incastrato il manico, lo puoi vedere in questo video : kzbin.info/www/bejne/eanVlZV_iLWZapI

[@杨名扬]

Ecco ho capito, grazie!

[@MsBossio]

Fantástic!

[@SamLamingMusic]

What do you use for honing the inside of your Gouge David? I have a Slipstone which is only 4000 grit, but also a leather block with honing compound... Can't seem to find high grit slipstones/cone shaped water stones. I hope you're able to say positive, and probably very productive!.. In these strange times, cheers again David, these videos have been and are such an absolute treasure.

[@DavideSora]

Hi Sam, I'm fine and I hope you too. What do you mean by high grit? Finer (6000, 8000) or coarser (1000, 800)? In any case, it seems to me that 4000 + leather block is enough for inside sharpening, I also have a coarser 1000 grit but I almost never use it, only in the case where the inside of the gouge is uneven and needs to be flattened, but if it is already dead flat it is not necessary to use coarse stones, it is better to work only on the outside with them and use only the finer grit on the inside. I also have a finer 8000 grit slipstone but honestly I think that the 4000 can do the work just fine. I use these models : www.dictum.com/en/shaped-stones-shaped-sharpeners-king-shaped-stones-ebb/king-slipstone-large-grit-1000-711201

[@SamLamingWingsuit]

By high grit I meant finer sorry. It's fine for all the cuts across the grain, but when cutting the widest point of the upper and low bout, I was having some issues with tear out, and naturally thought sharpening sharper and sharper would be a potential resolution. Thanks for your reply!

[@DavideSora]

@@SamLamingWingsuit Yes, of course using extremely sharp tools always helps, but when it comes to cuts along the grain in maple with very deep flame, sometimes it's not enough. In these cases, I can only give you some advice: remove very little wood at each cut by making very thin shavings so as not to apply too much force, and in extreme cases, to wet the wood with water, to make it softer and more plastic during cutting. For the spruce even wetting the wood is not very useful, it's more a matter of following the grain direction correctly. This forces you to work half a channel at a time because in the sections along the grain one half is in the right direction and the other half tears out. So start by gently widening the channel first to get enough space so that the gouge can cut one half in one direction in the first pass, and then the other in the opposite direction. A third pass in the center only is needed to adjust the deep and thickness of the channel. I hope my writing is clear enough to make you understand what I mean...😇

[@DavideSora]

In any case, perfect sharpening is always important, to learn more on the subject I suggest you this very interesting website, a really nice one: scienceofsharp.com/

[@SamLamingMusic]

@@DavideSora - Your writing is perfectly clear! I read every single article on that Website, it's fascinating. Strange regarding the lower grit, sharper blade article, but fantastic pictures and experiments.

[@moneypenny174]

Wonderful video. I see that the platform is 4.3 at the c bout, 4.5 at the corners, and 4.1 at the upper & lower bouts. What is the measurement at the button? Thank You

[@DavideSora]

The button has the same height as the edge, ie 4.1 / 4.2 mm. No need to keep it higher, because with this type of fluting channel (kept very close to the outer edge) the final rounding of the edge will lead to its lowering by a few tenths, depending on the radius of curvature of the gouge we used to cut it. So in the end the edge will be lower than the button, allowing it to taper (ascending towards the outside, typical of the ancient Cremonese style) when finishing the button after having glued the neck joint. For these reasons, the height of the button when making the platform must be adapted to your working method (more internal or external fluting channel influencing the final edge height, willingness to do the final taper or not, etc.). You have to consider a difference in final height between the edge and the button according to the amount of taper you like, for me this differential is about 0.4/0.5 mm, usually my finished edge ends up at about 3.7 mm, and the button taper rise-up to 4.1 in the finished violin.

[@moneypenny174]

@@DavideSora what a great approach! I will try this on the back that I am working on right now. Thank you kindly for the detailed explanation.🙂

[@brahmsbratsche]

worderful video Davide. Grazie. Anyway, I'm a little confused about gouges measure. Is there any similitude with the typical "Pfeil" gouges? Thanks!!!

[@DavideSora]

I do not know Pfeil radiuses. You can check your gouges superimposing them on a circle drawed on paper with the radius indicated in the video

[@mrgolftennisviolin]

Jim, I have the Pfeil numbers if you still need them.

[@joesatriani7574]

Ciao Davide mi chiedo se per la tavola usi le stesse direzioni di taglio essendo l'abete più delicato

[@DavideSora]

Le direzioni sono le stesse, ma cambiano leggermente da pezzo a pezzo a causa delle possibili deviazioni della fibra.

[@gary24752]

Do you typically choose old-growth wood in order to get tight-grained wood in order to be able to better control the chisel?

[@DavideSora]

In the maple the grain does not have much influence on the workability as it is quite homogeneous, the main problem is given by very deep flamed pieces that with very seasoned wood tend to flake off easily if the tool is not super sharp and if you are not careful. In the spruce instead a fine grain certainly helps, but the wood is not chosen based on the ease of working but on the basis of the acoustic properties, so you learn to live with the problems given by wood difficult to work due to its fragility and inhomogeneity. And you learn tool sharpening.... 😊

[@gary24752]

@@DavideSora Thank you for your reply. You should do a video on the journey of picking the tree, seasoning the wood and choosing the right slabs or blanks. One question once you pick the blank you want is then cut into two pieces in order to match the frequency of the wood? I keep watching your videos over and over to watch your technique.

[@DavideSora]

I'm sorry but I usually don't go to choose and cut the trees in the woods, I prefer to choose the wood already cut because it's the only way to understand if it's really good, you can't do it looking at the tree or the trunk. Speaking with the forester of the Val di Fiemme, he said to me that only 1% of the cut spruce trees turns out to be "resonant wood" good for violins. The blanks can are usually split in two, but plates can also be made in one piece, there are examples of Amati, Guarneri and Stradivari who have one pieces top and back, or also made in two pieces but unmatched. It is more difficult to find blanks for one piece plates with homogeneous characteristics, for this reason it is usually made in two pieces.

[@DavideSora]

Alla fine dello scavo del canale a sgorbia lo spessore della sguscia del fondo sarà di 3,1/3,2 mm nelle parti superiore e inferiore e di 3,5/3,6mm nelle C. Per la tavola sarà di 3,2/3,3 mm nelle parti superiore e inferiore e di 3,3/3,4mm nelle C.

[@docfloc]

This site is a wonderful discovery fo me, Davide. You haven’t, by any chance, written a book on your methods?

[@DavideSora]

I'm sorry, no book😢

[@docfloc]

Davide Sora Perhaps having a more permanent record of your videos in say DVD form instead so that we don’t have to depend too much on KZbin in the future.

[@DavideSora]

I thought about it because you are not the first to ask, but the problem is that the videos are many and would need a lot of DVDs to contain all the videos, moreover those with music would have copyright issues. There would also be the need to do things the right way so as not to have legal and tax problems. I fear that in the end it would lead to high costs of time and selling price. But I'm still thinking about it, I have not quite discarded the idea yet.....😊

[@docfloc]

Davide Sora I understand.

[@АльбертНовиков-ц8с]

Maestro, and the thickness of the edge of the deck 4.1 - is it not enough? Sacconi recommended 4.5 mm?

[@DavideSora]

Sacconi indicate 4,5 mm for C bout only, but my edgework method is different from that of Sacconi. I think that with 4,5 mm the resulting final edge thickness (rounded) is too big so I reduced this measure to fit my taste, inspired by old cremonese violins. Anyway edge thickness (within limits) is not so important for acoustic, but only for esthetics. The most important thing is the minimum thickness at the bottom of the channel where the real plate thickness start.

[@ironmonkey1512]

Hello Davide, is there a video before this where you create the flat area?

[@DavideSora]

This is the video : kzbin.info/www/bejne/nnvOiJarZs6la9k However this is just the last step to get the final thickness, but the flat area is set during roughing the archings, which you can see in the videos in these two playlists : Back arching roughing : kzbin.info/www/bejne/ZqbJoZyoZcZ8h7s Top arching roughing : kzbin.info/www/bejne/ZqbJoZyoZcZ8h7s

[@ironmonkey1512]

@@DavideSora thank you so much, I am making my first violin and much of the book instructions are unsatisfactory. Your videos are very helpful.

[@ioanniskollias6968]

magnifique technic

[@johnkkau]

Maestro, In your video contorno dei bordi parte prima - spessore del pianetto (kzbin.info/www/bejne/nnvOiJarZs6la9k&ab_channel=DavideSora) at 6 minutes you show the thicknesses of the purfling platform as 4.3-4.5 mm for the bouts and 5.5 mm at the tips of the corners. Yet at the beginning of this video the desired thicknesses for the back has come down to 4.1 mm for the bouts and 4.5 mm for the tips of the corners. May I ask at which stage you made this reduction and whether the same applies to the belly?

[@DavideSora]

In reality, the measurement of the thickness of the edge platform can vary according to the final thickness to be obtained (finished violin), which is also influenced by the variable of the fluting channel radius, which with the edge rounding will cause a greater or lesser lowering of the initial measurement. The tighter the radius of the channel, the more the initial measurement must be kept high, but if the radius is flatter, the thickness of the platform must also be lowered to end up with the same measurement of the rounded edge. The measure of 4.5 mm that I indicate in the other video is practically a maximum measure, that allows getting a final measure of the rounded edge of about 4 mm (which is the canonical measure normally used by many luthiers), while with the measure of 4.1 mm you see in this video, the final thickness of the rounded edge will be about 3.7 mm, which is what I prefer. So, with this goal in mind, I usually make my platform 4.1 mm in the back and 4.2 mm in the top (as you can see in this video: kzbin.info/www/bejne/gZPCdKZtrtJga80), a tenth more than the back because the spruce is much more tender under the tools and wears out more than maple with working, but in the end, the measure of the rounded edge (3.7 mm) will be the same for both top and back edges.

[@johnkkau]

@@DavideSora Grazie mille.

[@WeedMIC]

Dat was geweldijk

[@modestoluisestelasanchez1892]

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[@DavideSora]

Si no escribes de forma comprensible, con espacios entre una palabra y otra, no puedo entender lo que quieres decir. No hablo español y uso el traductor de google, si no pones espacios entre las palabras no se puede traducir correctamente, así que no puedo darte una respuesta si no entiendo lo que dices, lo siento.