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We use a huge number of things every day and have almost stopped noticing them. But it turns out that in the production of things that seem insignificant at first glance, there is a lot of interesting and educational stuff hidden. Entertainment“Conveyor MK” will reveal the secrets of making the simplest things at first glance. Today on the program: .

The violin is practically the only musical instrument, not counting ritual drums and Greek harps, that was deified. The names of the parts of the violin have been preserved: head, neck, chest, waist, darling. The violin was created as an analogue of the human voice. Until now, even at the very modern technology, it was not possible to synthesize the timbre of a human voice and a violin. For centuries, the technology, materials and methods of its manufacture have been developed, which have remained virtually unchanged since the mid-18th century. The violin has become one of the most classical instruments.

The structure of a violin is the most complex in terms of physics, acoustics and resistance of materials. In fact, it is a complex acoustic device that requires precise tuning and adjustment.

There are many schools and directions of violin making, but the most prominent are Italian, French and German. They all have their advantages and disadvantages and differ significantly from each other both in sound and manufacturing methods. The sound of instruments of the Italian school is recognized as the most timbre, flexible and controllable. That is, the musician can control the timbre characteristics of the instrument. The sound of German school instruments is bright and empty. French instruments sound somewhat glassy and hollow. Although in all schools there were instruments with “foreign” characteristics.

Three types of wood are used to make a violin: maple, spruce and ebony (black) wood. Depending on the properties of the wood, various tool parts are made from it. Since the top is almost entirely responsible for the sound of the bass strings, the combination of softness and elasticity of spruce is ideal for it. The back, head and sides are made from maple. The back mainly works for the upper register, and the density of the maple corresponds to these frequencies. The neck is made of ebony. Ebony, due to its high rigidity and strength (by the way, it sinks in water) has maximum resistance to wear from strings. Only ironwood can compete with it, but it is very heavy and has a green color.

The combination of maple, spruce and ebony is used in almost all stringed wooden instruments: bowed instruments, guitar, balalaika, domra, lyre, zither, harp and others.

Many generations of craftsmen have experimented with various materials for making a violin (poplar, pear, cherry, acacia, cypress, walnut), but maple and spruce best meet the acoustic requirements. This is confirmed by all modern research.

The best tree A tree grown in the mountains is considered to be used to make a violin. It's a matter of climate. In the mountains the tree is exposed sudden changes temperatures and is not oversaturated with moisture. Thus, the summer layers become smaller than on the plain and, in general, the relative elasticity increases, i.e. sound conductivity. According to established tradition, to make the back, craftsmen use wavy maple, which is distinguished by a beautiful wavy pattern. Famous historical fact getting to the Italian masters of wavy maple. In the 18th century, Türkiye supplied Italy with maple for oars on galleys. The oars were straight-grained maple. But since it is difficult to understand its structure without sawing a log, batches of wavy maple often came in, to the delight of violin makers. By the way, working with wavy maple is much more difficult than with regular maple.

Of particular interest, controversy and legend is the method of “tuning” the instrument’s decks. The most complex and effective method used by the Italians. This method was completely “honed” by A. Stradivarius in the last 10 years of his life. It is known from physics that the thinner and softer material, the lower the tone it emits, that is, it reaches maximum resonance at low frequencies. Conversely, the denser (harder) and thicker the material, the higher its resonant frequency. Thus, by changing the density and thickness of the material, you can achieve maximum resonance for the desired sound. The essence of setting up the instrument deck is quite simple. For every sound “taken” on a string, there should be a section on the soundboard that resonates with it as much as possible and harmoniously combines with the rest. The problem is that all sounds have several overtones, which must also have “their place” and also be harmoniously combined with the rest. In addition, the soundboard of the violin is under constant tension under the pressure of the strings (for example, the stand “presses” on the upper soundboard with a force of 30 kg). Setting up decks is one of the most difficult and important operations when making a violin. The genius of Italian tuning is that, being the most complex (total), it takes into account any properties of the material. That is why direct copying of thicknesses unique instruments does not give the desired results, since there are no absolutely identical pieces of wood. Frequently published thickness maps of unique instruments (Vitachek) do not carry any information if you do not have the deck from which this map was made in your hands.

The plasticity of the vaults, and not their height, is of great importance. All other parts of the violin (head, neck, shells) also resonate, and therefore participate in the formation of sound. Wood, being an organic, dispersed material, can absorb and release moisture, thus changing its mass, and therefore its resonant frequency. This property is well known to violinists when instruments change their sound in rainy weather. That’s why the soil, about which there are many legends, is so important. Priming the decks is very similar to embalming Egyptian mummies. The materials are very similar and the goals are absolutely the same - to preserve the material in its original form, to prevent moisture and rotting. In a violin, this process is more complex, since by introducing soil into the wood, we change its mass, and therefore the sound quality. In addition, by changing something in one area of ​​the deck, its relationship with others is automatically disrupted.

There are many legends about the secret of the sound of ancient instruments. There is a claim that the secret is in the varnish. This is not true. The purpose of the varnish is to protect the instrument from external influence, highlight the beauty of the wood and not hinder the sound. When the varnish was washed off one of Stradivari's instruments, it began to sound worse. The fact is that the varnish was washed off, and not cleaned off mechanically. That is, they were exposed to a liquid solvent, which, of course, was absorbed into the wood and changed its mass and density.

But that's not all. In those days when violins were created, which delighted the whole world, there were other requirements for sound, different strings (gut), the neck was shorter, wider and at a different angle to the body, a different stand and the standard of the tuning fork “A” was half a tone lower. That is, now we hear a completely different sound that was embedded in them during manufacture. From an acoustic point of view, the shape of the violin is not ideal. Already in our time, research was carried out in this area, and it turned out that perfect shape for sound - trapezoidal (in the shape of a small coffin). But there were no people willing to play such violins. The third string that suffers the most on a violin is the third string. Even on the best Italian instruments it is a little weaker than the others. Modern string manufacturers take this into account. Nowadays the authentic style of playing and the structure of the violin are being revived. And this is much closer to why this tool was created.

Violin , practically the only musical instrument, not countingritual drums and Greek harps, which was deified. The names of the parts of the violin have been preserved: head, neck, chest, waist, darling. The violin was created as an analogue of the human voice. Until now, even with the most modern technology, it has not been possible to synthesize the timbre of a human voice and a violin. For centuries, the technology, materials and methods of its manufacture have been developed, which have remained virtually unchanged since the mid-18th century. The violin has become one of the most classical instruments.

The structure of a violin is the most complex in terms of physics, acoustics and resistance of materials. In fact, it is a complex acoustic device that requires precise tuning and adjustment.

There are many schools and directions of violin making, but the most striking are recognizedItalian, French and German . They all have their advantages and disadvantages and differ significantly from each other both in sound and manufacturing methods. The sound of instruments of the Italian school is recognized as the most timbre, flexible and controllable. That is, the musician can control the timbre characteristics of the instrument. The sound of German school instruments is bright and empty. French instruments sound somewhat glassy and hollow. Although in all schools there were instruments with “foreign” characteristics.

Three types of wood are used to make a violin: maple, spruce and ebony (black) wood. Depending on the properties of the wood, various tool parts are made from it. Since the top is almost entirely responsible for the sound of the bass strings, the combination of softness and elasticity of spruce is ideal for it. The back, head and sides are made from maple. The back mainly works for the upper register, and the density of the maple corresponds to these frequencies. The neck is made of ebony. Ebony, due to its high rigidity and strength (by the way, it sinks in water) has maximum resistance to wear from strings. Only ironwood can compete with it, but it is very heavy and has a green color.

The combination of maple, spruce and ebony is used in almost all stringed wooden instruments: bowed instruments, guitar, balalaika, domra, lyre, zither, harp and others.

Many generations of craftsmen have experimented with various materials for making violins (poplar, pear, cherry, acacia, cypress, walnut), but maple and spruce best meet the acoustic requirements. This is confirmed by all modern research.

The best wood for making a violin is considered to be one that grows in the mountains. It's a matter of climate. In the mountains, wood is exposed to sudden temperature changes and is not oversaturated with moisture. Thus, the summer layers become smaller than on the plain and, in general, the relative elasticity increases, i.e. sound conductivity. According to established tradition, to make the back, craftsmen use wavy maple, which is distinguished by a beautiful wavy pattern. There is a known historical fact that wavy maple fell into the hands of Italian craftsmen. In the 18th century, Türkiye supplied Italy with maple for oars on galleys. The oars were straight-grained maple. But since it is difficult to understand its structure without sawing a log, batches of wavy maple often came in, to the delight of violin makers. By the way, working with wavy maple is much more difficult than with regular maple.

Of particular interest, controversy and legend is the method of “tuning” the instrument’s decks. The most complex and effective method was used by the Italians. I have completely perfected this method.A. Stradivarius in the last 10 years of his life. It is known from physics that the thinner and softer the material, the lower the tone it emits, that is, it reaches maximum resonance at low frequencies. Conversely, the denser (harder) and thicker the material, the higher its resonant frequency. Thus, by changing the density and thickness of the material, you can achieve maximum resonance for the desired sound. The essence of setting up the instrument deck is quite simple. For every sound “taken” on a string, there should be a section on the soundboard that resonates with it as much as possible and harmoniously combines with the rest. The problem is that all sounds have several overtones, which must also have “their place” and also be harmoniously combined with the rest. In addition, the soundboard of the violin is under constant tension under the pressure of the strings (for example, the stand “presses” on the upper soundboard with a force of 30 kg). Soundboard tuning is one of the most difficult and important operations in violin making. The genius of Italian tuning is that, being the most complex (total), it takes into account any properties of the material. This is why direct copying of the thicknesses of unique tools does not give the desired results, since there are no absolutely identical pieces of wood. Frequently published thickness maps of unique instruments (Vitachek) do not carry any information if you do not have the deck from which this map was made in your hands.

The plasticity of the vaults, and not their height, is of great importance. All other parts of the violin (head, neck, shells) also resonate, and therefore participate in the formation of sound. Wood, being an organic, dispersed material, can absorb and release moisture, thus changing its mass, and therefore its resonant frequency. This property is well known to violinists when instruments change their sound in rainy weather. That’s why the soil, about which there are many legends, is so important. Priming the decks is very similar to embalming Egyptian mummies. The materials are very similar and the goals are absolutely the same - to preserve the material in its original form, to prevent moisture and rotting. In a violin, this process is more complex, since by introducing soil into the wood, we change its mass, and therefore the sound quality. In addition, by changing something in one area of ​​the deck, its relationship with others is automatically disrupted.

There are many legends about the secret of the sound of ancient instruments. There is a claim that the secret is in the varnish. This is not true. The purpose of varnish is to protect the instrument from external influences, highlight the beauty of the wood and not hinder the sound. When the varnish was washed off one of Stradivari's instruments, it began to sound worse. The fact is that the varnish was washed off, and not cleaned off mechanically. That is, they were exposed to a liquid solvent, which, of course, was absorbed into the wood and changed its mass and density.

But that's not all. In those days when violins were created, which delighted the whole world, there were other requirements for sound, different strings (gut), the neck was shorter, wider and at a different angle to the body, a different stand and the standard of the tuning fork “A” was half a tone lower. That is, now we hear a completely different sound that was embedded in them during manufacture. From an acoustic point of view, the shape of the violin is not ideal. Already in our time, research was carried out in this area, and it turned out that the ideal shape for sound is trapezoidal (in the shape of a small coffin). But there were no people willing to play such violins. The third string that suffers the most on a violin is the third string. Even on the best Italian instruments it is a little weaker than the others. Modern string manufacturers take this into account. Nowadays the authentic style of playing and the structure of the violin are being revived. And this is much closer to why this tool was created.

In fact, all ancient instruments that have survived to this day work at the limit of their capabilities and therefore require special attention.

Musicians and craftsmen have a concept of “playing an instrument.” This applies to new, long-unplayed and restored instruments. Even simply releasing all the strings and then tightening them changes the sound picture and requires playing out. There are a huge number of stresses interconnected in a tool. Tree - organic material, which can change its properties depending on external influences: the weather, the musician’s method of sound production, and even the weight of the chinrest. When played, the instrument seems to get used to the performer’s style. A good musician can extract a very good sound from a mediocre instrument. But not everyone can achieve the full spectrum of sound on a good, expensive instrument. This requires a high performing level, otherwise the instrument will get used to what you can do.

Hello, friends! My name is Sergey, you can see my other collections on this site, today we will figure out together how to make a violin from wood.

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Method 2:
The violin is a high-register bowed stringed musical instrument. Has a folk origin modern look acquired in the 16th century and became widespread in the 17th century. It has four strings tuned in fifths: g, d1, a1, e2 (small octave G, D, A of the first octave, E of the second octave), range from g (small octave G) to a4 (A of the fourth octave) and higher. The violin's timbre is thick in the low register, soft in the middle and brilliant in the upper. There are also five-string violins, with the addition of a lower alto string “c” (up to a small octave).
The body of the violin has a specific round shape. Unlike classic shape The body shape is made of a trapezoidal parallelogram and is mathematically optimal with rounded recesses on the sides forming the “waist”. The roundness of the external contours and waist lines ensures comfortable play, particularly in high positions. The lower and upper planes of the body - the deck - are connected to each other by strips of wood - shells. They have a convex shape, forming “arches”. The geometry of the vaults, as well as their thickness and its distribution, to one degree or another, determine the strength and timbre of the sound. A damper is placed inside the case, transmitting vibrations from the stand - through the upper deck - to the lower deck. Without it, the violin's timbre loses its liveliness and fullness.
The strength and timbre of a violin's sound is greatly influenced by the material from which it is made, and, to a lesser extent, by the composition of the varnish. There is a known experiment with complete chemical removal varnish from a Stradivarius violin, after which its sound did not change. The varnish protects the violin from changes in the quality of the wood under the influence environment and colors the violin with a transparent color ranging from light golden to dark red or brown.
The back (musical term) is made from solid wood maple (other hard wood), or from two symmetrical halves.
The top is made of resonant spruce. It has two resonator holes - f-holes (in shape they resemble the Latin letter f). A stand rests on the middle of the top soundboard, on which the strings, attached to the tailpiece (underneck), rest. Under the leg of the stand on the side of the Sol string, a single spring is attached to the upper deck - longitudinally located wooden plank, which largely ensures the strength of the upper deck and its resonant properties.
The shells combine the lower and upper soundboards, forming the side surface of the violin body. Their height determines the volume and timbre of the violin, fundamentally influencing the sound quality: the higher the shells, the duller and softer the sound, the lower the shells, the more piercing and transparent the upper notes. The shells, like the soundboards, are made from maple wood.

3 way:
Ancient Petersburg takes on a new meaning
Russia 24
Musical instruments from the structures of ancient buildings began to be made in St. Petersburg. It turned out that wooden beams houses undergoing demolition can find a second life. They are used to make violins comparable in quality to the masterpieces of Stradivarius and Amati.
23.02.2012

4 way:
The hero of the column is the only violin maker in the region. At first, he carved chipped birds of happiness from wood, and he succeeded very well. But when his children went to music school, violin class, they needed instruments. And he decided - he made the first violin in his life. It was a real musical instrument that took his daughter and son into the world of great music. Since then he - unique master whose violins sound in different corners planets. In 2015, Arkhangelsk will host a big musical competition among violinists, where his violin will become the main prize. And we learn about what helps him in his work and the hidden secrets of creating a violin from the story of our journalists...

5 way:
Subscribe to the channel "Academy of Entertaining Sciences" and watch new lessons:
Academy of Entertaining Arts. Music. Lesson 1. Firsts musical instruments. The sound of a violin.
People tried to express the sound of music with the help of the first musical instruments. Our ancestor Adam, from the first moments of his life, began to observe what was happening around him and discovered that music was everywhere - not only in nature, but also in himself. The ancient musicians expressed the impulses of their souls by clapping their hands, snapping their fingers, and knocking stones against stones. It is difficult to say when and where the first musical instruments were first played, but archaeologists are still finding them all over the world. U different nations they are different, but scientists call them all idiophones. An idiophone is a musical instrument in which the source of sound is the body of the instrument itself. Many idiophones include percussion instruments, for example, castanets, spoons, triangle, bells. Musical instruments are mentioned 29 times in the Bible. After all, music has always been an expression of the feelings of the people.
The title of queen of music was given to the violin well deservedly. Its sound most closely conveys the intonation of a human voice. The violin is capable of different musical techniques and styles. Great virtuoso violinists proved this with their art: Niccolo Paganini, Pablo de Sarasate, David Oistrakh, Vladimir Spivakov and others. In their hands, the sound of the violin was unique. And the best violin makers lived in Italy in the 17th century. The Italians sacredly kept their secrets of mastery. They knew how to make the violin sound gentle, soft, similar to a human voice. All over the world, very few Italian instruments have survived, but all of them are strictly registered. They are played by the most famous virtuoso musicians around the world. The first violins appeared in Italy and France at the beginning of the 16th century. At first, the violin was considered an instrument of the lower classes. Gradually, the violin conquered the space with its bright sound. How does a violin work? This instrument is made from two different types of wood. This is spruce and maple. Only this ratio gives the violin a special sound. The two planes of the violin body are called soundboards. The top deck has beautiful cutouts in the form Latin letter f - sound comes out through them. The decks are connected to each other by shells. The strings are attached to the tailpiece and rest on a stand, which transmits the vibrations of the strings to the soundboards. The strings pass over the neck and are tensioned by pegs located on the headstock. A chinrest is attached to the top deck for comfortable holding of the instrument. Inside the case there is a darling that transmits sound vibrations from the top deck to the bottom. Also, the sound of a violin depends on the composition of the varnish used on its body.

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More video

You can make a violin, guitar, balalaika. I made a double bass. To begin with, we find on the Internet suitable photo double bass, print in the right size

Cut it out. Transfer to cardboard. My cardboard was not very thick, so I had to glue four layers together for strength.

We put the glued parts under the press and dry them very well.

The result should be: the front and back surfaces of the body of the double bass, the neck, the headstock and two parts of the side walls of the double bass.

In the future, you will need to make a couple of parts, which are currently impossible to make, since they need to be adjusted to an almost finished tool.

We bend the side bars and screw them onto the glass.

Let's start assembling the double bass. Glue perpendicular to the back surface side walls using the papier-mâché technique.

Please note: the pin needs to be secured at the bottom at this stage. I used the top of the TV antenna attached to cold welding. Inner surface I painted the double bass with black acrylic, since the white insides will be visible through the f-hole slots.

Now you can attach the front wall in the same way, having previously cut holes in it - f-holes.

After drying the structure well under a press, I cover it with LaDoll on all sides and dry it again. You need to cover the fingerboard and the fretboard with LaDoll. Now you can make a stand for the strings.

We rub all the parts with fine sandpaper to a mirror shine.

Now you need to make a pattern, according to which the part will be made that holds the body of the double bass and the neck together. To do this, we place the neck on the double bass and use a wire to fix the desired angle.

I attached the wire to a broken nail file with masking tape.

This file will be the basis for a thick layer of LaDolla.

We attach the resulting part (I don’t know what it’s called :)) to the neck with LaDoll.

Now you can start making the headstock. To do this, I took a sheet of paper, cut out a pattern from it, rolled it into a tube and, depending on the result obtained, adjusted the pattern. Transferred from the pattern to the LaDolla layer.

Raw LaDoll was rolled into a tube and dried, giving the free end a curved shape.

Now we put the three parts together, adjust them and grind them. We make a recess and side holes in the headstock.

I used wooden teeth from a massager as pegs. It is too early to attach them at this stage. We paint, dry, and varnish all the parts. I used parquet varnish. Dry again very well.

Prepare the wood. Most often, violins are made from spruce and maple wood. The lower part of the body (back), the sides of the body (sides) and the neck are made of maple. As a rule, spruce wood is used to make the upper part of the body (top soundboard).

• You will need a solid piece of maple wood for the back, a long piece of maple wood for the neck, several strips of maple veneer for the sides, and a solid piece of spruce wood for the top.
• Also, in order to give the violin the required shape, you will need several more pieces of spruce wood, which will subsequently be wrapped around maple shells.
• Small pieces of wood are placed at the corners of the violin to connect the sides and support the body itself.
• You can find the materials you need for your work on the Internet. Try searching on these sites: (for those living in the UK) and (the site works all over the world).
• To find more information, use Google.

Work with a solid piece of maple: Cut a thick beam in half. Then glue the panels together so that you get one large canvas. Do the same with a solid piece of spruce timber, which will be used to make the top deck. You can find more information here: .

Form shells from veneer. Spare no expense and buy a sheet bender - a tool for bending wood and metal. You can also use a regular iron, but it is more difficult to work with, and the result is not ideal.

Give the required form top and bottom deck. Carving will take you quite a lot of time.

1. Be sure to use a template - you can find it on the Internet or come up with your own. Transfer the drawing to the wood.
2. Cut carefully. Sand the edges using a file. The upper and lower parts of the body should be perfectly flat, the thickness around the perimeter should be the same - around 0.5 cm.
3. You can achieve the required uniform thickness using a file and sandpaper. It is also necessary to get rid of excess wood inside the decks. To do this, use a chisel.
   • You can use a drill to speed up the process.
4. Follow the above steps for the top and lower parts housings.
5. Using a drill, make holes in the top soundboard - f-holes, use a template for this. Also, don’t forget to glue a damper to the bottom deck, which will make the violin sound cleaner and brighter.