Otis Tomas

The design for this violin will not be based on any particular historical instrument, but the dimensions and proportions will be well within the range of those found in the various models of Stradivari, Guarneri, and the other great classical makers of the "Golden Age" of violin making that flourished in Cremona, Italy in the 17th and early 18th centuries. It was there that the violin evolved into its modern form, and with the notable exception of the setup of the neck, (and a corresponding alteration to the bridge and bass bar), it has remained much the same to the present day. There has been much interest and speculation concerning the significance of the geometric proportions to the early developement of the violin's design, and it is probable that at least some makers of the time were concerned with designing within a unifying scheme of geometric relationships. For a brief discussion of this tradition, see the essay on my website:   Fiddletree.com/On the Pythagorean tradition

Before the devolopement of the modern science of acoustics a century or so later, it may have been that some early makers believed that a harmony of simple proportions in the outer form of the violin might be conducive to the harmony of its inner voice. But though this simple relationship may not be born out by our present knowledge of acoustical physics, it may be meaningful in other ways. The violin is more than just a voice -- it is a whole work of art, and its visual and tactile qualities as well as the history and ideas embodied in it are not without significance.

Based on the simple elements of the line and circle, the violin's proportions are generated within a system of simple relationships to provide a visually unified and harmonious form. Below is a design I worked out several years ago, and is the one that I will use for this violin.

If the layout of the design represents the rational, conceptual, and intentional aspect of violin making, then the material, the wood itself, presents us with the irrational, unknown, and 'given' side of it. Every tree is unique, and even within a given species, there can be large variations in appearance, density and stiffness, and tonal qualities, and these are the reflection of its life in the forest, its ancestry, climatic cycles, and the soil from which it grew. A large part of the art of violin making is the exploration of the materials used, and with experience one hopes to gain some insight into the ever mysterious qualities of the wood in relation to ones designs, methods of working, and tonal objectives.

Certainly the choice of wood is an important decision in the planning of the instrument. It's not always as simple as deciding between 'good' and 'bad' wood, but a subtler choice of what kind of sound the maker is looking for. Although some compensation can be made for different kinds of wood to try to attain a certain quality of voice, a better approach is to choose an appropriate wood, get to know it, and try to maximize its natural characteristics For example, a piece of hard sugar maple may tend toward a clear, bright sound, but tending toward brittle when exaggerated. A soft red maple may tend toward a more woody and darker sound, but if one is not careful, may tend toward mushy when taken to the extreme.

For this violin, I have chosen a piece of red maple from a log that I got from a local sawmill about 12 years ago. It is beautifully figured, fairly light and soft, and has proven itself in a number of instruments over the years. Here is a picture of the wood when I first brought it home and cut it up in the yard in front of my workshop.

The spruce soundboard is probably the most important piece of wood for the tonal qualities of the finished instrument . I am looking for something strong and bright, with a bit of a crisp snap to the tone. And so for the belly I will choose a nice piece of Kermodie Spruce, a light and stiff wood that is perfect for for a strong yet responsive tone. It has straight even grain and was cut from a billet that was wide enough for a number of one piece violin tops.

Here I've gathered together the mold, templates and materials in preparation to start the work. I have selected a nicely figured one piece back as well as a one piece top. The mold and outline template are adapted from the drawing previously illustrated.