Part of the secrets of masterpieces available now from the masters of the art of violin, is in the special design of their instruments, which is the result of profound insight and awareness of the fact that when an idea to create a piece of art is being developed, such as making a violin or a bow, precise calculations of the various components are essential.
Golden age luthiers, such as Amati, Stradivari & Guarneri, each had their own Gold standard method to develop the geometric pattern of their instruments.
But today, especially in the case of the remaining golden age instruments, we’re faced with the fact that extracting the correct pattern from the standpoint of science, geometry and aesthetics have been much more difficult. It happened due to the aging along with certain inaccuracies in craft of the instruments, and also the distortions which deliberately or inadvertently affected the available resources.
Then again this ’piece de resistance’ can also be done since the creator artist applies his/her scientific and empirical potencies to analyze these brilliant instances of artistry, together with practice and diligence to gain the real and authentic knowledge, far from hidden prejudices and dogmatism.
An important question is that: What factors had purified the intuition of Golden age masters, allowed them to create such eternal pieces of art? What kept them safe from aberration, and what gave them the power to follow-up their efforts tirelessly?
Due to the specific circumstances of the time, today any attempt to answer such questions by referring to available resources will face serious contradictions. The fact which regrettably represents the incapacitation and imperfection of the modern human’s mind...
Considering the main characteristic principles of the phenomenon called violin, we realize that aesthetics along with science and experience have provided the foundations for creating a magnificent work of art. As the cornerstone of this action, referring to reliable resources for extracting the correct pattern is always necessary. In our workshop, we have collected and evaluated many Golden era patterns due to the scientific and empirical potentials, and extracted the optimal geometric design off each, due to the principles of physics and mathematics. Which henceforth, an exact geometric output can be extracted using high-tech computer-aided design tools (CAD), which itself requires another field of technical knowledge. This special service is appropriate for professional violin makers and other makers who would like to apply their artistic skills on an exact and correct pattern.
But when it comes to apply the pattern on a new instrument, then the artist’s abilities to implement his/her idea becomes particularly so important. For the maker who chose the correct pattern, the prior step must be accomplished by providing a mediate tool, called mould.
An ideal mould, particularly “Inner Mould”, makes it possible to attain the compliance of circumferential forms and proportion of different parts of the structure, based on the applied pattern, and also assembling the various components of the ribs’ structure with a high accuracy.
In the meantime, making an inner mould based on a particular pattern requires both empirical knowledge and proficient skill, and also well-understanding of the concept of mould, which is required to create a delicate and accurate piece. Because, we presume that mould defines the primary quiddity of the instrument and also, it’s the substantial element that the geometric qualities of the instrument depend directly on it. So, this process must be done with a masterful precision, together with high technical level and great understanding of aesthetics to attain a final product which can properly guide the further steps ahead.
We believe that the main properties of a proper mould are as follows:
|I||Correct circumference form, based on the geometric design, with a maximum acceptable error of 0.1(mm)|
|II||Symmetry in circumference form of the mould, exclusively for moulds which are based on symmetric patterns|
|III||Exact reliable symmetry line to refer in the steps ahead|
|IV||Correct right angles of the circumference span for complete compliance with the ribs’ structure|
|V||High quality of material, due to the aesthetic characteristics and also the least amount of deformation over time|
|VI||Exact devising of the various components, including the placement of blocks, etc.|
We make it possible for the makers who are interested in creating a great work of art, to provide a professional mould depend on your needs and wishes. For that, our experts will transmit the required information to you and will guide you to choose the right decision for you and your future instruments...
You can contact us for instructions...
Remind yourself that all men assert that wisdom is the greatest good, but that there are few who strenuously seek out that greatest good.
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