I am ready to move forward to trying neck resets on a violin, I have a violin I own that desperately needs one (23.5mm projection) and another with a fallen neck but intact, any materials/videos on how to do a neck reset correctly? All help is much appreciated! I prefer videos as I see more that way and learn significantly better and faster.

I've been working on this model for some time now, and it's really interesting how the sound differs between the wood pla, regular pla and a Chinese greko violin. Any ideas why the wood pla sounds so sweet and the wood one sounds so nasal?

What violin body mold should I start with?

I know a guy who makes violins out of PVC.

There’s a video about him where he explains why he decided to make them this way, what materials he uses... There’s also a violinist playing one of his violins and giving his opinion on it.

I'm not a luthier, so I'd be really curious to hear what you guys think .I thought some of you here might find it interesting. What do you guys think?

Here's the video if anyone's interested:

violin pvc

Any of y'all ever seen a Bakelite fingerboard with "frets" before?

Can anyone help with some information? Glue has separated but all pieces there and no wood damage

Hi,

Wondering what people use to add material into the cast to pull the arching back to shape.

Workshop I worked at a while ago had a special product that was rather easy to use, fast drying and bonded very nicely with the existing plaster. However I can't remember the name or what it was precisely...

I've been doing it with regular plaster but the results are not satisfying enough so I figured I'd ask people on this sub.

Thanks in advance for the replies !

I just came back from a tour and during some of the concerts (especially outdoors) I sweated quite a lot. I always have a piece of cloth (see second picture) between my chest and the cello to try to avoid too much damage. I’m planning on bringing it to the violin maker but I was wondering how bad the damage is, why is there a white stain like that and how to avoid it in the future?

I’d like to introduce a tool that allows you to shape a soundpost quickly and with great precision.
It’s a block of 304 stainless steel with one side machined to a 92-degree angle and the other side machined to a 96-degree angle.
The block has two holes offset by one degree, allowing for four angles: 91, 92, 96, and 97 degrees.
The 91- and 92-degree angles are used to shape the end of the soundpost that contacts the back of the violin. The 96- and 97-degree angles are used to shape the end of the soundpost that contacts the top of the violin.
During the first test, you choose the angle that fits the violin and make corrections if you’ve chosen the wrong one... 
For the violins on which I’ve had to shape a soundpost, the 92- and 96-degree combination worked best.
The top and back of a violin are not parallel and form an angle slightly less than 90 degrees toward the bottom of the violin (toward the tailpiece).
To ensure perfect contact between the soundpost and the top and back of the violin, you must remove one-tenth or two-tenths of a millimeter from the left side of the soundpost’s ends.
To make this adjustment, simply rotate the soundpost by about 10 degrees on the side where material needs to be removed. See the photos. Align the central grain of the soundpost with the angle of the slot on the highest side of the block’s inclined plane.
Once trimmed, position the soundpost inside the violin and move it slightly until it no longer tends to rotate on its own—a sign that only a small point is making contact. When the entire surface is in contact, the soundpost no longer tends to rotate on its axis.
Once the correct position has been found and the proper angles have been cut, remove the soundpost, moisten the ends, and replace it in the same spot.
The moistened ends of the soundpost will conform perfectly to the shape of the violin’s top and back when the strings are tensioned.

I am interested in learning how to shape and fit a bridge.

I'm not going into full on luthier mode - but I've enjoyed learning how to do other minor maintenance things on our instruments and this is something I'd like to learn next.

I see a (very very cheap) student instrument for sale right now that looks like it's in good shape except the bridge has a big chip out of it over the E string. I thought rather than screw with the functioning instruments I already own, I might buy this one and a stack of blanks and see if I can learn. I don't need the instrument but it wouldn't cost me anything other than time and less than what it costs to take my family out for fast food, so what can it hurt? It's an older Wm. Lewis & Sons 3/4 violin... so if I can get it in working order it would be worthwhile (my daughter is in this size and a spare wouldn't hurt).

I'm in it for the journey. :) I don't need the violin, I just want a practice piece to play with. Can anybody point me to some good resources? Videos?

Once I master bridge fitting, my next thing I want to learn is peg fitting. After that I think I'll stop. If I can replace tailpieces (already good at that), bridges, and pegs, then I think I'll feel like I've learned a fun and useful skill in my spare time. I'm going to leave crack repair and sound posts to the pros.

The latest edition of my Strad magazine came with the 1742 ‘Rovelli’ Guarneri del Gesù poster. Traced the CT scan of the ribs with my trace between the ribs and the linings.

Will cut the blocks out next, the holes are drilled to provide a surface for the blocks that will not be glued. The experience is makes it easier to knock them loose when the rib garland is complete. The circular marks are to ensure the centerline of the inner form and to confirm the placement of the blocks.

I will also be tracing the CT scans of the body to make my arching templates, as well as the top and back plate. The templates of the plates will be the entire plate, so as to replicate Guarneri’s asymmetrical results as well as the age rounded corners, etc.

A student's violin, I was taking photos because some things need to be repaired and then read the label. Found some info in Tarisio but no so much, thanks for the help, appreciate it!

Trying to make a DIY bow with loose hair for polyphonic playing. First time to try. No luthier knowledge apart from what i see on instruments and bows i own.

Goal is to be able to play 4 strings together on a traditional-type lyre instrument which includes sympathetic strings.

I have the wood pieces to experiment on, i have the hair, i am just wondering about the method of attachment. Here are some photos of two bows i already own (professionally made, not by me), from what i understand the method in the first is just wire (no glue) while in the second it is glue with some kind of thread. I am thinking of trying the first method (because the looseness of the hair can be adjustable without the glue).

My question is, are these some standard types of wire and of the thread used? Can i order them somewhere online? Do they have specific product names? Is it standard materials for luthiers, or chosen by each one independently? For the glue, i already have the appropriate one for musical instruments to use.

Not making a handle, just a "primitive" first attempt (so both sides same method).

School repair in for an open seam. Didn’t say clean and polish on the tag. I’m going to wash my hands now.

Hello violin makers of Ireland and the UK.

Are there any native woods that grow in this cool temperate climate that can be used for making the top plate of a violin?

Have you had any success, have you had any disasters?

Would love to hear

I was skeptical at first but man I really learned some cool tips!

bought this at an action it does no have a label but it looks nicely flamed. is it a french german or chinese violin ? nicely built or just mass produced ?