Building a Violin

7/25/2019 Building a Violin

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uilding a Violin

et Up! And DIY -- http://www.gdiy.com

troduction

he art of violin making is a very precise talent. A casual observer would say that there is not a whole lot of variatioviolin to another, but each has it's unique characteristics. Each little change in style and building technique can gr

ect the final sound of the piece. Changing the basic design too drastically can ruin the result, but there is a lot of roo

stry and character when building one.

y Dad studied Violin making in Italy. For the last 30 years he has made a business out of it from his home worksh

ted working with him a few years ago and since then I have made several instruments. This project is a rough over

all the steps of the process for building a violin using standard traditional tools of the trade. A person who is good a

cess can build one in about a month, but that is assuming we have all the materials and tools ready to go. Custom

igns or reproductions of specific violins can take significantly longer.

ools and Materials

Wood

You'll need some special pieces of wood for the front and back of the violin. Typically the back, sides and neck

made of maple planks from a special cut of the tree that creates a wavy flame-like pattern that looks amazing wh

gets some varnish on it.

The top of the violin is traditionally made from spruce. With this piece you are looking for tight evenly spaced g

Hot Iron

This is a specially shaped piece of iron that is used for shaping the thin strips of wood for the sides of the violin.

clamped into a bench vise while you push the strips of wood around it for the specific shape that you want.

Chisels

Used for general shaping of the wood that makes up all the special pieces of a finished violin. Generally used in

initial stages of shaping.

Clamps

There are several specialized clamps used for making violins. Normal clamps from the hardware store are good

certain parts of the process, but special ones are used for things like clamping the front and back plates against th

structure.

PlanersVery small planers known as thumb planes are used for violin making. They are used to carve out the back and

plates of the violin.

Miter Saw

The miter saw is used to cut a wedge into the top of the violin body. This wedge cutout is where the neck will f

Dial Gauge

Shows the thickness of any particular point along the front and back plate.

Contra-Form

The contra-form is basically a sheet of plywood with the shape of the body of the instrument cut out. Around the

perimeter small blocks or pegs are glued to hold the top and back in place when they are being shaped. The cut o


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can be used for the form listed below.

Form

The form is just a piece of plywood in the shape of the violin that is used to glue in the corner blocks and form th

ribs around.

Glue

The only thing that holds all the pieces of wood together on a violin is the glue. We use Tite-Bond white wood

Specialized hardware. There are certain things on a violin that most workshops don't make on their own. This

includes things like the chin rest, fine tuners, strings and the bridge.

orm

order to start a design you will first have to create/acquire a form. This is a flat piece of plywood roughly 3/4 inche

resents the shape of the violin. The corner blocks will be clamped against it and the ribs made to fit aroud this form

e Form can be created from a template which is available from many online sources. Some forms are copied directl

m the original which was made hundreds of years ago by historically famous artists of the trade. In either case you

with a violin shape for the template. After cutting around the outline you will cut squares out of the corners of the f

ese will hold custom blocks inserted at the corners of the violin. Holes or slots( pictured above) need to be cut acros

m the blocks to allow for clamps. These blocks will be lightly glued to the form because the form will eventually b

moved. Once the block cutouts are made you can trace out the precise shape that you need for the corner blocks. Th

e you a template for forming the blocks.

xt is to cut out the corner blocks and glue them to the form. Take the template you made from the original drawing

w the outline from a small piece of wood for each block. There will typically be four corner blocks as well as a nec

e block. Once these are cut to the general shape lightly glue them to the form and clamp them in place.

en the clamps are taken off you can start cutting out the final shape of the corner blocks. Use your template to mak

u have the right outline drawn onto the blocks. Shape the template with whittling knives, chisels and rasps until you

ck fits the precise shape of your original template. Keep checking the shape against the template.


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ibs - the sides of the violin

e sides of the violin are called the ribs. These are thin pieces of wood which will be shaped to the contours of the F

glued into the corner blocks. In order to shape these thin planks you need to slowly push them against a hot iron.

ditional iron is heated over a stove then clamped into a bench vise while it's hot. There are also electric irons which

same purpose without the need to use a secondary heat source.

you continue to get the rib shapes completed you insert them into each of the blocks and clamp them in place. It is

ays a good idea to do a dry fit before adding glue. There are multiple ways to get them clamped in place. One way

ke blocks that fit the curve of the corner, top and bottom blocks and sandwich the rib in between the form blocks an

s you have made for clamping. Once all the ribs are in place and the clamps removed trim up the ribs on the corner

e point. You will also need to plane down the ribs to the height of the blocks on both sides.

nce the ribs are planed to the desired height you flip the form over so you're looking at what will be the back side of

lin. Along the inside edge of the ribs you apply a strip of wood called the lining. This piece is made just like the rib

l fit on the inside of the ribs snuggly between the blocks. On the outside it is planed flush with the ribs. On the insid

l be taperd down to meet the rib. This lining will create a more solid surface onto which the back can be glued. The

cess will be done on the top after form is removed.

ack

w it is time to move on to the back side of the violin. The front and back both have a rounded surface like a hill. S

ple think that these contours are shaped by heating the wood up and bending it around a mold, like the ribs, but this

true. Instead, the back and front pieces are carefully carved out to the desired shape. Most of the work is done by

ng the same tools that were used hundreds of years ago.

e first thing you need to do in order to start on the back side is to find planks of wood with the right characteristics.


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certain cuts of the maple tree which have a wavy pattern in it called a flame. This pattern turns shimmery and vibr

en the varnish is applied. This type of pattern has come to be expected in violins. It is not so easy to come by thou

ly about 1 out of 300 planks of maple wood will have this sort of pattern in it. I suggest you try sifting through the

d supplies first. Buying the necessary maple in this way can be as cheap as 10 dollars. If you try to buy pieces like

m a specialty distributor of violin supplies, then you're going to end up paying a considerable amount more for them

ce the pieces are chosen, they need to be assembled. You can use one solid piece or two pieces that are matchbooke

ed together. If you are useing two pieces you need to make sure you have good joint, glue and wait until it is dry.

e outline of the back and front are typically about 2.5mm larger than the outline of the ribs which are currently aroun

form. To get the outline place the form with the ribs on the back, makeing sure that you center it with the joint on

k, and trace around the ribs at a distance of 2.5mm. The outline is drawn onto the plane which will face the inside

lin. As you can see below, some people use a button to get the correct spacing for the outline. As long as it is roug

mm it will be OK. Once you get the outline traced out, cut it out. Now its time to start forming the curv that will be

ide of the back.

accomplish this, violin artists typically use a set of very small hand planers like the ones below. To help keep the

place you can brace it against a bench dog which is a metal pin placed into the work table. Start carving out the sha

contours like this until you get the desired thickness. Make sure to keep a even thickness all the way around the bo

get more stability you can clamp the piece against the bench dog using a bench vise. Once the carving on the back p

omplete smooth it out with scrapers and sandpaper. Now it is time to flip the back over and start carving out the ins

he back. Be sure to leave a surface all around the outside for the blocks and the ribs to glue on to.The thickness will

end on your design and it varies from about 4.5mm at the center to about 2.5mm at the edges. This is a good time t

jig you made erlier.The hole on the inside of the jig is shaped so that only the edges of the piece sit against the jig w

curved shape is allowed to hang down.

w it is time to glue the back to the ribs.In dry climates such as Minnesota we use a weaker, watered down version o

ong glue for this step. This is so that if the wood expands and contracts too much with the changing environment th

s can actually separate from the front or back. Otherwise the front, back or ribs of the violin could crack with the

ssure. It's much easier to re-glue the joints than replace a rib or repair a crack in a back or top. Take a brush and pu

e on the rib edge and then glue the back to the ribs. Be very carefule when clamping because it is very easy to crackm to much preasure.


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ront - also called the top, table or soundboard

w it is time to close up the violin. First you need to take the form out. To accomplish this you need to very gently

cks with a small hammer. This dislodges the glue between the blocks and the mould. Tapping too hard could crack

structure or one of the blocks so this is a very deleciate step in the process.

ate the linings as we did on the back side. Cut each strip of lining to the length of each rib segment, then shape it w

hot iron to align it to the curve of the ribs. Glue each lining to the ribs so that they are flush with the top. Allow th

dry.

xt you need to to shape the blocks. This will further decrease the weight of the instrument and leave a smooth surfa

insides to prevent any unwanted reverberations. Use a chisel to cut down the blocks then sand them smooth. Belosee the difference between what the block looks like initially when it's in the form, and what it looks like with the

ngs in place after being sanded down.

ply glue to the inside plane of the front plate where the ribs will fit against it. The process is the same as what we ding the back plate onto the ribs. Fit the front onto the ribs and clamp it in place to allow the glue to dry.

ile the back is made of maple, the front is commonly made of spruce which is softer. Carving out the shape of the

much like the process for the back so I won't repeat that portion.

ere are a few special steps to be taken for the front as compared to the back. One of these is the f-holes, or sound ho

ey are called f-holes because they are shaped like a cursive f. These allow the sound to come out of the violin. The

length can affect the final sound of the violin. The wood between the two f-holes moves more easily than the rest

dy. This creates a resonance around 300Hz.


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e f-holes are cut out of the front piece once all the carving and gouging is complete. The shape is drawn onto the fa

ng a template. The holes at each end of the f-hole are drilled first then a scroll saw blade is inserted into these holes

shape is cut out. Rasps and files are used to finish off the shape, then a v-shaped file or a small knife is used to car

details at the middle point.

ere is a length of wood which lays against the inside face. This is called the Bass Bar. It acts as a reinforcing eleme

ich strengthens the front plate. It helps propogate the low frequency sounds from the strings to the body of the viol

under the area where the G string, or the lowest frequency string, will be attached. It also allows the maker to retu

lin to the proper resonance. It is made of a strong, lightweight piece of spruce wood. It should be perfectly split fro

rter sawn spruce so there is no grain run out along its length. If the grain does not follow the whole length of the b

then a crack will eventually form where the grain exits the wood. Here are some dimensions:

Length: It is suggested that the length does not need to exceed 270mm.Width: about 5mm

Height: 10 to 12mm at the middle to about 3mm towards the ends then tapering flat according to the contours of

violin.

these measurements are adjusted when building the bass bar according to the specific acoustic requirements desire

piece.

n the front and back face of the violin you will see a line running along the inside close to the edge. This is an inlay

fling. Purfling is a material which is made up of multiple layers of wood of different colors, typically willow and b

od. The layers are all sandwiched together and sold as strips.

e outer edge of the violin needs to be finished off with a file and sanded down smooth before you can start applying

fling. This gives a good edge to run the cutter against. Two lines are drawn along the margin which idicates the tw

er edges of the inlay. After drawing the two lines the cutter is pulled along these two lines which will help to cut a

which the purfling will lay. After cutting these lines a small gouge or purfling pick is used to finish out the purfling

nnel.

e purfling strips are heated against the iron used for the ribs. Heat them until they are shaped to fit into the area of t


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nnel they will be inserted into. The individual pieces of purfling come together at the corners of the voilin to form

pe. This is called the Bee Sting. They must be carefully attached to eachother to form a mitre joint where they com

ether. Glue is applied to the channel then the purfling is pressed into place. Tap it into place with a light hammer t

ure a good fit. When the glue has dried the final touches can be applied to the purfling. A gouge is run along the p

cut it down a bit. This will give the violin a raised edge along the outside of the purfling. The inside edge will be s

oth until it is level with the rest of the face.

eck

e neck is where most of the artistic flare is visible on a violin. Given the beautiful scrollwork that most violins have

ce will take a lot of effort to create and is arguably the most eye-catching feature of the violin as a whole.

ere are several parts to the neck:

Peg box

This is where the pegs are inserted for tuning the violin strings.

Fingerboard

A strip of wood along the length of the neck. The player presses the strings against the fingerboard to change th

pitch of the instrument.

Scroll

The intricately hand carved decorative piece at the top.

Neck BlockThis is what will be glued against the body of the violin

e neck starts with a roughly shaped block of maple which only hints at the final result. Initial holes are drilled whe

s will fit into. Small holes are drilled into the scroll area which help the maker know how deep to cut when carving

e scroll design is roughed out using chisels and carving knives. The peg box is cut out to the desired depth, also usi

sels. The neck is shaped using files and sandpaper until a smooth slope is developed on the underside. The top of t

k is left flat for the fingerboard to be put in place. Grooves are added along the outer curve of the scroll. Once

rything is carved to shape the entire piece is sanded smooth and ready for finishing.


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e fingerboard is made of ebony. Typically you buy a fingerboard roughly shaped to the appropriate dimensions of tce. It is then shaped to the final design using planes and sandpaper.

e neck block is the part which fits against the body of the violin. The neck block support is part of the back plate an

seen below as a small tab that sticks out of the top of the violin body. This will help secure the neck in place.

cise measurements must be taken both at the neck block and on the body where the neck will fit into. A fine tooth

w is used to cut the outline into the front and ribs of the body where the neck block will sit. A chisel is then used to

move the material inside this outline.

e neck block is cut down using a mitre saw then shaped with a hand plane until it is the exact size of the area that w

ared on the body. During the cutting process the neck is constantly tested against the body to ensure that the cuts ar

p enough and to the correct dimensions and shape.

ce the pieces are judged to be the correct fit they are glued together and clamped in place for drying.

er the glue dries the neck button can be shaped. This is the semi-circle shape at the base of the neck that protrudes body. It is shaped using knives, chisels and rasps. A template and caliper are used to check the dimensions and sh

neck. Final adjustments are made according the the fit of the template against the neck.

nishing

er all the pieces are fit together you look over the entire piece for touch-ups. The edges on the perimeter of the fron

k are rounded over with a file to give a soft, smooth outline. The edges are further smoothed with sandpaper of

reasingly fine grades. You can use a thin piece of cork backing material against the sandpaper to get around all the

ved areas.


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ce these touch-ups are complete the violin is considered to be "in the white" which means all white wood underneat

face has been exposed. The violin must now sit exposed to the air and sunlight for a period of at least a few days to

ay all the whiteness of the freshly cut wood. The fresh wood gets tanned through exposure to sunlight and the open

l slightly darken the wood surface through oxidation. This effect will amplify the appearance of the grains and text

wood that was so carefully chosen for the piece.

er letting the piece air out we can move on to finishing. There are typically about 12 to 13 thin coats of finish appli

numerous recipes and methods of application. Here are the main components of the finishing process:

ound Coat

e first coat is called the ground coat. This coat is important to the sound of the violin as well as the durability of th

shing layers of varnish. It also creates a strong layer at the surface which prevents the varnish from soaking into th

od. It can be bought from violin supply stores, or made on your own. A traditional ground coat called "Vernice Bi

till used by many today. It is composed of gum arabic, honey and egg white. Another one is propolis soap which i

m propolis from a bee hive, denatured alcohol, alum and potassium hydroxide.

rnish

er applying the ground coat you apply the varnish. There are many varnish recipes used by various workshops and

thods. The most common is Terpene varnish which is made with turpentine and linseed oil. Another recipe uses w

combined with an amber resin. More recipes can be found in the links below.

es

es are used to give color to the finish. Some makers don't use any dye, but prefer the natural color of the varnish an

od to come out. Some varnishes have a good color on their own. The dye material used depends on the color desir

e dye material is dissolved in alcohol and added to the varnish. If using a dye, the varnish is made slightly thicker th

al to account for the alcohol used to make the dye. Here are some natural dyes used today:

Yellow dyes:

Saffron

Kamala

Tumeric

Aloe

Brown dyes:

Catechu

Ashphalt

Guaiac resin

Red dyes:

Sandalwood

Pernambucco

Madder root

er the ground coat is applied, the dye is mixed into the varnish if desired. The varnish is brushed on with a soft-bri

nt brush. Standard varnishing techniques apply here. Use smooth vertical brush strokes to prevent brush marks fro

eloping. The varnished vioilin is then set in the sun to dry. After all the layers of varnish are applied, an abrasive p

d to remove any remaining brush strokes.

ce the varnishing is complete the violin is polished with a soft felt cloth. The cloth is dipped into a 50/50 mix of mi


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rits and alcohol and smoothed over the surface of the violin. A commercial rubbing compound can also be used. E

tinuous strokes of the cloth will prevent an uneven finish from developing.

ardware to finish it off

e final stage to finishing a violin is to attach all the necessary hardware. Usually these pieces are bought straight fro

pliers of such things and just attached to the violin. Here are the necessary pieces of hardware used on a violin:

Pegs

Chinrest

Tailpiece

Sound Post

You can see a sound post easily through the f-hole.


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Strings

Bridge

Tuners

Tailgut (often included in the tailpiece)

ce all these pieces are attached the violin is complete. All you need to do now is learn how to play (not described h


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nks

about violins:

kipedia:en.wikipedia.org/wiki/Violin

olin acoustics: an introduction -www.phys.unsw.edu.au/jw/violintro.html

up and adjustment of your violin: www.josephcurtinstudios.com/about/setup.htm

ns Nikolaos Pluhar violins:www.pluhar.com

her How-To pages:

ns Nikolaos Pluhar's progress page:www.hanspluhar.com/bergonzi_progress.html

ges in Violin Making by Hand:www.violins.demon.co.uk/making/index.htme violin site:www.theviolinsite.com/violin_making/

here to buy Materials:

rdware:www.violins.ca/fittings/index.html

rdware: www.violincompany.co.uk/violinparts.php

rdware:www.playbetterbluegrass.com/violin_parts_198_ctg.htm

ple: www.curlymaplewood.com/

rnish supplies:www.violins.ca/varnish/violin_varnish_gums_resins_dyes.html

ngs:www.violins.ca/strings/index.html

ses:www.violins.ca/cases/index.html

ws:www.violins.ca/bows/index.html

olin Galleries:

esset:www.gussetviolins.com/gallery.htm

ns Nikolaos Pluhar:www.hanspluhar.com/instruments.html

rnishing

rnish secrets: www.gussetviolins.com/varnish.htm

04 Variation Violin Varnish Recipe:www.violins.ca/varnish/violin_varnish_recipes.html

nry Jr Varnishes his Violin:www.henrystrobel.com/violvar.htm
http://en.wikipedia.org/wiki/Violinhttp://en.wikipedia.org/wiki/Violinhttp://www.phys.unsw.edu.au/jw/violintro.htmlhttp://www.phys.unsw.edu.au/jw/violintro.htmlhttp://www.josephcurtinstudios.com/about/setup.htmhttp://www.pluhar.com/http://www.pluhar.com/http://www.hanspluhar.com/bergonzi_progress.htmlhttp://www.hanspluhar.com/bergonzi_progress.htmlhttp://www.violins.demon.co.uk/making/index.htmhttp://www.violins.demon.co.uk/making/index.htmhttp://www.theviolinsite.com/violin_making/http://www.theviolinsite.com/violin_making/http://www.violins.ca/fittings/index.htmlhttp://www.violins.ca/fittings/index.htmlhttp://www.violincompany.co.uk/violinparts.phphttp://www.playbetterbluegrass.com/violin_parts_198_ctg.htmhttp://www.playbetterbluegrass.com/violin_parts_198_ctg.htmhttp://www.curlymaplewood.com/http://www.violins.ca/varnish/violin_varnish_gums_resins_dyes.htmlhttp://www.violins.ca/varnish/violin_varnish_gums_resins_dyes.htmlhttp://www.violins.ca/strings/index.htmlhttp://www.violins.ca/strings/index.htmlhttp://www.violins.ca/cases/index.htmlhttp://www.violins.ca/cases/index.htmlhttp://www.violins.ca/bows/index.htmlhttp://www.violins.ca/bows/index.htmlhttp://www.gussetviolins.com/gallery.htmhttp://www.hanspluhar.com/instruments.htmlhttp://www.hanspluhar.com/instruments.htmlhttp://www.gussetviolins.com/varnish.htmhttp://www.violins.ca/varnish/violin_varnish_recipes.htmlhttp://www.violins.ca/varnish/violin_varnish_recipes.htmlhttp://www.henrystrobel.com/violvar.htmhttp://www.henrystrobel.com/violvar.htmhttp://www.henrystrobel.com/violvar.htmhttp://www.violins.ca/varnish/violin_varnish_recipes.htmlhttp://www.gussetviolins.com/varnish.htmhttp://www.hanspluhar.com/instruments.htmlhttp://www.gussetviolins.com/gallery.htmhttp://www.violins.ca/bows/index.htmlhttp://www.violins.ca/cases/index.htmlhttp://www.violins.ca/strings/index.htmlhttp://www.violins.ca/varnish/violin_varnish_gums_resins_dyes.htmlhttp://www.curlymaplewood.com/http://www.playbetterbluegrass.com/violin_parts_198_ctg.htmhttp://www.violincompany.co.uk/violinparts.phphttp://www.violins.ca/fittings/index.htmlhttp://www.theviolinsite.com/violin_making/http://www.violins.demon.co.uk/making/index.htmhttp://www.hanspluhar.com/bergonzi_progress.htmlhttp://www.pluhar.com/http://www.josephcurtinstudios.com/about/setup.htmhttp://www.phys.unsw.edu.au/jw/violintro.htmlhttp://en.wikipedia.org/wiki/Violin


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RPENE VIOLIN VARNISH:www.scavm.com/Fulton.htm

nna's varnishing process: www.giannaviolins.com/Information/Varnish.html

rts of a Violin:

neral Diagram:www.the-violin-guide.com/violin-parts.html

neral Diagram: musiced.about.com/od/beginnersguide/a/vparts.htm

und post:

at is a sound post:en.wikipedia.org/wiki/Sound_post

w to set a sound post:www.violins.on.ca/luthier/soundpost.html

ss Bars:

tory:en.wikipedia.org/wiki/Bass_bar

sign:www.vmaai.com/bassbar2.htm

sign:www.violins.demon.co.uk/making/bassbar.htm

ing a new bass bar:www.maestronet.com/m_library/maestro_mag/bass_bars.cfm

ws:

w to build a violin bow:www.diynetwork.com/videos/crafting-a-violin-bow-blank/6412.html

dges:

about bridges:www.violinbridges.co.uk/

here to buy a violin:

es by various artists and owners:www.maestronet.com/index.cfm

yers Guide to Student Violins:www.violins.demon.co.uk/studentguide.htm

nna violins:www.giannaviolins.com/index.html

scombe violins:www.violins.ca/instruments/violins/violins.html

rk Edwards:www.markedwardsviolins.com/site1/node/16

e Violin Company:www.violincompany.co.uk/newviolins.htm
http://www.scavm.com/Fulton.htmhttp://www.scavm.com/Fulton.htmhttp://www.giannaviolins.com/Information/Varnish.htmlhttp://www.the-violin-guide.com/violin-parts.htmlhttp://www.the-violin-guide.com/violin-parts.htmlhttp://musiced.about.com/od/beginnersguide/a/vparts.htmhttp://en.wikipedia.org/wiki/Sound_posthttp://en.wikipedia.org/wiki/Sound_posthttp://www.violins.on.ca/luthier/soundpost.htmlhttp://www.violins.on.ca/luthier/soundpost.htmlhttp://en.wikipedia.org/wiki/Bass_barhttp://en.wikipedia.org/wiki/Bass_barhttp://www.vmaai.com/bassbar2.htmhttp://www.vmaai.com/bassbar2.htmhttp://www.violins.demon.co.uk/making/bassbar.htmhttp://www.violins.demon.co.uk/making/bassbar.htmhttp://www.maestronet.com/m_library/maestro_mag/bass_bars.cfmhttp://www.maestronet.com/m_library/maestro_mag/bass_bars.cfmhttp://www.diynetwork.com/videos/crafting-a-violin-bow-blank/6412.htmlhttp://www.diynetwork.com/videos/crafting-a-violin-bow-blank/6412.htmlhttp://www.violinbridges.co.uk/http://www.violinbridges.co.uk/http://www.maestronet.com/index.cfmhttp://www.maestronet.com/index.cfmhttp://www.violins.demon.co.uk/studentguide.htmhttp://www.violins.demon.co.uk/studentguide.htmhttp://www.giannaviolins.com/index.htmlhttp://www.giannaviolins.com/index.htmlhttp://www.violins.ca/instruments/violins/violins.htmlhttp://www.violins.ca/instruments/violins/violins.htmlhttp://www.markedwardsviolins.com/site1/node/16http://www.markedwardsviolins.com/site1/node/16http://www.violincompany.co.uk/newviolins.htmhttp://www.violincompany.co.uk/newviolins.htmhttp://www.violincompany.co.uk/newviolins.htmhttp://www.markedwardsviolins.com/site1/node/16http://www.violins.ca/instruments/violins/violins.htmlhttp://www.giannaviolins.com/index.htmlhttp://www.violins.demon.co.uk/studentguide.htmhttp://www.maestronet.com/index.cfmhttp://www.violinbridges.co.uk/http://www.diynetwork.com/videos/crafting-a-violin-bow-blank/6412.htmlhttp://www.maestronet.com/m_library/maestro_mag/bass_bars.cfmhttp://www.violins.demon.co.uk/making/bassbar.htmhttp://www.vmaai.com/bassbar2.htmhttp://en.wikipedia.org/wiki/Bass_barhttp://www.violins.on.ca/luthier/soundpost.htmlhttp://en.wikipedia.org/wiki/Sound_posthttp://musiced.about.com/od/beginnersguide/a/vparts.htmhttp://www.the-violin-guide.com/violin-parts.htmlhttp://www.giannaviolins.com/Information/Varnish.htmlhttp://www.scavm.com/Fulton.htm

Documents

Building a Violin