CR Methods An Intro to Old Cremona Violin Geometry

Thank you very much. I've been looking for this kind of information for a while now. I'm new to violin making, and this is the best explanation I've been able to find.

I am not that good at all of the math aspects. I am seriously picky and I can't stand it when techniques/actions don't make sense. Therefore, I truly appreciate this nice, long video on the actual geometry of a violin build and why it was done that way. Thank you so much.

This is so fascinating and helpful. Definitely gonna circe back to this a few times.

Fastenating, thank you very much. Looking forward to more, if possible.

Great job David, very interesting. I’ll have to watch this a few times to get everything.

Fascinating lecture and very well done.

What a well-made video!

I beg to have your inside on this. A prominent luthier who has studied the Cremonese design in circles, claims that the soundpost should be placed a π (3.14mm) behind the bridge foot and subsequently from the F holes equidistant to the bass bar. Would you agree with this? In my experience, I noticed my luthier who does not agree with this, placed my sound post at exactly a π behind the bridge foot to get the best tonal results, without him knowing or having measured it. The east-west position however is not equidistant, I guess because the sp was not cut for that position, to attain the right tension the sp was pushed much closer to the f-hole than the bass-bar side.

Soooo much more straightforward than Denis’ book which I detest.

I can see geometry, of sorts, used to craft the shapes of the body, lesser in the scroll, but I wonder if “we” try to overlay geometry onto that may have just been drawn by rule and divider to create an aesthetically please form. To force geometric science onto something that just isn’t there. Did the old Cremona makers really use ratios, or was it all just coincidental? They may have just been using their predecessor’s designs, modifying them and then finding a way to draft it. I do wonder, with regard to the f holes, if they trimmed them to adjust the sound at all, pre varnishing.

Thank you very much for this interesting video. Could you tell us which program you used for the geometry ?

Thank you for this video. I do have a question Edgar Russ said the same thing about the arch of the plate being half the height of the ribs. My question is is that the outside height of the arch of the plates or is that the inside Arch of the plates?

You mention that they "follow the build". They didn't push the circle back and correct it. Is there any proof that violins made with this slightly offset type, sounded better? I mean did Stradavari and Amati do that on purpose? Why wouldn't you correct the anomoly, the slightly lower shoulder?

Sir, can you plzz provide all the proportions and geometrical recipes for drawing a scroll..????

Hi David, I myself have been trying for 14 years to make sense of what is described in Sacconi's book. I am a CAD draftsman by profession but I can't figure it out with the explanation in Sacconi's book. I myself went to Cremona to ask the old Francesco Bissolotti because Sacconi has small deviations even though you follow the explanation exactly, was my question to him. aah he said that we solve artistically. But would he have known!? I have tried with a book and the search for the "The Golden Ratio" was going well, and iI found a lot of 1.618 ratios, but I want a Strad G or PG. Now I try one with your explanation and I have a question. And would you like to set up your philosophy parametrically in AutoCAD? My question is: Where is the center in height, to draw the center arc, in relation to the circles below? 5:00 min. That's not clear to me. Watched the whole video several times but don't get it. Please help me solve the riddle with you.

What has happened to the sound?