Violin Making / 'The Strad' Library, No. IX.

by Walter H. Mayson

The thickness, but more especially the depth of these, is of much consequence in relation to strength and quality of tone. I have found a bare sixteenth of an inch answer very well for thickness, and on the model I have worked on before you, in depth one and a quarter of an inch at lower or broad end, gradually narrowing to one and one-eighth full at the narrow.

Now, take the thickness for granted; but follow me very closely while I describe to you how I arrive at the depth being just what I want and sought for to obtain the note B before the soundpost is inserted, when you blow in the f, C, after it is fixed. Of course, this is making the scientific part of the work, or one of them of no sort of anxiety to you, being already done by me at no little trouble and much thought; but, as I set out as a teacher, if only of moderate calibre, I shall go through with my endeavour to make some good workmen out of my listeners and readers, therefore you are welcome to what is, I think, of importance, never minding what will be said at the outset, that all this fuss is somewhat of nonsense, seeing that it was so easy to copy the depth of a rib, and get to what was wanted and avoid it. But I do not like copying where I can help it; besides, what I shall lay before you has the merit of getting at what you want to a nicety, and of finding out what depth of rib will suit the model in hand, and obtaining the mass of air of which I before spoke.

On a finished back, just like the one which we have before us, I fitted a set of ribs about one inch deep to three-quarter inch taper, and on a similar belly to this, another set of like depth; but I so arranged that those on the back should be one thirty-second more out than usual—that is to say, nearer the edges of the wood—and those on the belly one thirty-second more in, or away from those edges. Then, after filing and scraping for a long time, I, with no little patience withal, contrived so that I fitted one set over the other of the ribs, (as a double box) and got a sort of fiddle body, clumsy of course, but I saw my way to doing just what I had set out to do, and I did it eventually.

Gradually shallowing the ribs by lowering belly or raising back, I got various tones or notes for the air mass, trying E, D, C, B, A, but no resonance such as that of B suited me, so I roughly glued these ribs firmly together, fitted up the whole thing with every accessory such as would allow me to play on the instrument, with the satisfactory result of proving a case beyond question.

So I get to the necessary and somewhat difficult process of making the ribs, etc. But the mould in which they are to be temporarily fixed must be first made by you, and this is the way to go about it.

Get a piece of dry beech—birch or maple of the plain sort will do—18 inches long, 7 inches broad, and 1½ inches deep. Take the half outline of the violin which you have decided to make, and place it flush with the edge of the above block, equal spaces being left at either end. Then very firmly and very accurately draw the half outline on the block for your mould. After you have done this, you must trace an inner line all round the other, one-eighth of an inch from the real outline; and, when you get to the corners, carry this inner line to a broad, open point somewhat beyond the square of the corners, as by this you are enabled to pass your ribs a little over the terminus at said corners, which will most materially assist you to effect a good joint there.

After this is well done, and your under surface quite level with the plane, take the block to a good band sawyer, and get him to saw just through the inner line, and you will have your mould in a measure ready for your ribs. Still, there is something to be done before you can set to work to fashion them, and the first is, square after the fret saw every quarter inch of its work, with steel square, [60], on tool block, your basis being your planed under surface, as most reliable.

Then, about one inch from inner mould, and one inch apart all round, drill holes through the wood with tool [56], or similar; and three larger holes, about seven-eighth inch diameter, one and a quarter inches under the centre of the D or middle bout, the other two some distance under the two corners. The small holes are for the bent steel cramps [2] to hold by when the linings are being fixed to the ribs, etc., and the three larger ones to hold down the centre rib in the same way by means of fitted wood block [33], and for the corner blocks, when they are fitted properly to the shaped ribs. (Cramp [11] is used in these latter cases.)

Having the mould ready, and in good order, prepare your ribs in this manner:—selecting what is nearest in figure to the back—good, honest wood—dress down both sides of it, the outer to a more finished surface, of course, and cut them to the dimensions previously stated, viz., one and a quarter inches to one and one-eighth of an inch whole length; but this whole length you will have to determine by measurement of each separate bout—lower, middle, and upper—which, when done to a nicety, mark on respective bouts for all future guidance in exact length.

When finally dressed, cut into lengths, and the ends of the middle rib filed down so as to enable the ends to pass and join upper or lower bout as the case may be, they being filed to fit, put your heating iron, fig. 5, and another iron to match, so that you will have a reserve of heat always on hand, into a bright, if possible smokeless, fire, and from one to the second of the heaters, get a good hot temperature—not scorching, be sure—and place a piece of brown paper over the narrow end of the heated tube. Then hold tool [64] in your right hand, middle rib in the left, and, with one end on the brown paper, the tool on that, very gently, cautiously, and by intuition, as it were, feel your way to a sweet curve of upper corner, using the broad part of the iron for the lower. Of course, although I have not told you, you will have bent the wood face to the mould for this centre, as the reverse for the outer, or larger ones, naturally. This done to your mind—do not be discouraged when I say I hope it may be—for you have hot work before you in more ways than one—get to the sharp corner curves of both the other ribs, face against iron afterwards, inside against it. Mind, as is your true shape to mould, so will your ribs be when it comes to be attached to the back; and there is no patching or trickery allowed here; so do your best. After this, fix the three sections into the mould, and keep them in position by means of cramp [2], and the centre one with block [33], held firmly by cramp [11].