Time-line of all my violins, violas, cellos, double basses and five-string fiddles:
A Chronology of all my instruments, in reverse order:
I designed this page as a “time-line” including all my hand-made instruments, in the reverse order of completion. (Newest first.) If you see a particular instrument you especially like, please connect with me to discuss how you can try it on approval. I do all my own work: all these instruments are handmade in Oregon. My newer site shows more five-string instruments, at https://fivestringfiddles.com/chronology/ .
Instrument #45 (Five-String Instrument #16) : Oliver Five String Fiddle (SOLD)
This is the third instrument I have made for which I used Douglas Fir for the top plate and bass bar. The back, sides and neck are Big Leaf Maple, salvaged from a tree on my wife’s parents’ property. (She and her siblings grew up climbing this tree and playing under it.) The customer who commissioned it is very pleased with it.
Instrument #45 ( Five-string #15): Oliver 5-string fiddle.
Bruce Harvie of Orcas Island Tonewood sold me all the wood for this instrument. Big leaf Maple comprises the back, sides and neck. The front is Engelmann Spruce. I modeled this instrument after the 1735 “Plowden” by Guarneri del Gesu, except (obviously) as a five-string fiddle. This fiddle’s big, deep voice, is a thrill, and very well-balanced across all five strings.
Instrument #44 ( Five-string #14): Oliver 5-string fiddle.
Bruce Harvie also sold me the back, sides and neck for this intrument. Big Leaf Maple from Orcas Island Tonewoods in Washington, makes up everything except the front plate. Another friend gave me the front plate wood, which is Douglas Fir, from the Coast Range of Oregon. The instrument is modeled after the 1728 “Milanollo” by Stradivarius, but as a five-string. The sound is loud, deep and clear, and very well balanced across all five strings.
Instrument #43 (Five-string #13): Oliver 5-string fiddle. (SOLD)
My wife grew up playing on (and climbing) the tree from which this maple was salvaged. It is the same tree as Five-string #8, a very old Big-Leaf Maple that was on the property of my father-in-law and mother-in-law. the tree was taken down because it was beginning to rot and was becoming hazardous. I wish I had more of this beautiful wood. The belly is Sitka Spruce.
Here is a YouTube video of the above five-string fiddle in a Canadian trio:
Instrument #42 (Five String # 12): Oliver 5-string fiddle (SOLD)
This is the “sister instrument” to the one directly below (5-string #11), as I made it from wood salvaged from the bass side of the same double bass back. It is unusual in the fact that the front plate is made of Douglas Fir. The sound is superb, and the owner loves it.
Instrument #41 (Five String fiddle #11): Oliver Five String Fiddle (SOLD)
I made this instrument from maple left over from the Five-String Double Bass built just before (instrument #40): Big Leaf Maple from just outside the Treble C-bout on the bass made up the back and neck of this fiddle. The top is Sitka Spruce, and it has a big voice, very clear and very well-balanced across all five strings.
Instrument #40 (Double bass #2): Oliver 5-string Double Bass with removable neck.
I completed this bass in August of 2020, and I am very satisfied with the new model. This is a personal design, and my first five-string double bass as well as my first instrument with a removable neck. It is strung B-E-A-D-G, which eliminates the need for an extension. It is a 5/8-size bass, with a D-neck and a 40″ scale.
Instrument #39 (Five-string #10): Oliver 5-string 16-1/2″ Viola
I haven’t any sound files for this instrument, yet, but I believe it is my best viola so far. It is made of European maple and spruce, and it follows the general form of the Conte Vitale viola. It has an excellent voice, and it is well-balanced across all five strings.
Instrument #38 (Five-string #9): Oliver 5-string 15″ Viola
I made this viola on the same mold from which I made my very first instrument. The original was a four-string viola with abalone-shell inlay on the back, which I made for my youngest son. I have used the same mold at various times, but this is the first five-string viola from this mold. Players have been very pleased and impressed with the big voice it has.
The back, sides and scroll are of Oregon Big Leaf Maple, heavily flamed, and spalted as well, as it was salvaged from a tree in my wife’s parents’ yard. The belly is Sitka Spruce.
Instrument #37 (Five string fiddle #7): Oliver 5-String 14″ ‘Tertis-style’ Viola .
I began this instrument as an experiment. I was not even aware of what a “Tertis” viola looked like (though, of course, I had heard of Lionel Tertis, and his work.) Anyway, it turned out to be a pretty powerful little 5-string 14″ viola, and it sounds great. It is well-balanced across all five strings.
The one-piece back, the neck and the ribs are all Big Leaf Maple, harvested near my home, while the belly is Sitka Spruce.
Instrument #36 (Five-string fiddle #8): Oliver Five String Fiddle (SOLD)
A woman called, and made arrangements to try out all my instruments. She liked one, for its feel and sound, but did not like the wood. I showed her some prettier wood, and she commissioned this instrument, on the spot.
She stated very specifically what she wanted: (Oregon tonewoods, Ipé fingerboard, Ipé nut and saddle, wide nut, high bridge, etc.) So, after she had played all my instruments, she could also say which model she liked, and what color and other specifics she liked (e.g. Double purfling, with fleur-de-lis purfling weave.) The commission was begun on December 14th, 2019, and she took possession of the instrument on February 29th, 2020.
Instrument #35 (Not a numbered cello) Oliver Violoncello Piccolo (5-string)
I only made parts of this one: a fellow expressed an interest in a handmade five-string cello, and said he was leaning toward a violoncello piccolo, which was a relatively rare instrument from the early 1700’s, and is credited to J. S. Bach.
When I researched the instrument, I found that the originals were about the size of a modern 1/2-size cello, but they had five strings. Tradition says that the Bach Cello Suite #6 is written for such an instrument.
So…I had an old, Romanian factory-made 1/2-size cello, which had been languishing in my shop (and, for which, years earlier, I had made a new Spruce Top plate.) I simply knocked the original neck out of it, and carved a new neck and scroll, in a five-string configuration of my own design, and produced a “sample.” He ultimately left without placing an order, but the project was interesting, and now I have built a small 5-string cello! 🙂 I can build more from scratch, if there is ever a resurgence in demand.
Instrument #34 (Violin #14): Copy of 1735 Guarneri del Gesu “Plowden” Violin
I have made several attempts at copying this instrument. This is undoubtedly the best so far. When only having been under strings and tension for one day, it received very good attention at a show, during which it scarcely ever was left alone for more than a few minutes. There was never a feeling of “Well, I’m sure it will be better after it has been played in…”. It was a success the very first day. That was a good feeling, for sure.
Instrument #33 (Violin #13): Copy of 1715 Antonio Stradivari “Titian” Violin
This is the first time in several years that I have attempted a “Stradivari” copy. I have the 1715 “Titian” poster, and came to the realization that it was made the same year (and evidently on the same mold) as two other violins, which are thought to be the Old Master’s best work: the “Soil” and the “Dolphin.” So, I decided that would be a good “sister instrument” to attempt. It has not disappointed me, and it is certainly one of the two or three best I have ever made.
Instrument #32 (Violin #12): Copy of 1735 Guarneri del Gesu “Plowden” Violin (SOLD)
This is my most recent (and best yet, as of 2018) copy of the 1735 “Plowden” violin by Giuseppe Guarneri (del Gesu). I think it looks and sounds the best. The one-piece back and the sides and the neck are all of European Maple. The two-piece belly is European Spruce. I used spirit varnish, deliberately copying the wear and dirt patterns on the original Old Master instrument.
Instrument #31 (3/4 size violin #1): Fractional (3/4-size) Oliver Violin
An adult player with small hands approached me at the Marylhurst show one year, asking about a 3/4-size violin. I had nothing but an older Czechoslovakian instrument at the moment, so I asked for the individual’s contact information, in the event that I could make a new 3/4 violin.
They crisply informed me that they had my information, and that was the end of the conversation. So…all I could do was to go ahead and make the little violin, and hope the same person would show up at the show the next year. I reasoned that, even if they do not, there may be a virtuoso student of diminuative stature who needs a high-quality instrument and can’t yet handle a 4/4. (And, as it turned out, I never saw that person again.)
This instrument is made of European maple and spruce, except the neck, which I think is some Red maple I bought from Elon Howe of Newaygo, Michigan, several years ago. It has a big voice, and is very easy to play.
Although I built it in response to a particular individual’s need, and I will gladly do so again, this one will sell on a “first-come-first-served” basis ! 🙂
Here are the pictures:
Instrument #30 (viola #10): Small (14″) Oliver Viola
I made this instrument with the same “footprint” or outline, as the Plowden Guarneri model, but the ribs are deeper, and other changes have been introduced, to transform what would have been a very good violin into a surprisingly powerful small viola, perfect for a smaller violist, or someone who wants to be able to easily transition from violin to viola, with zero change in fingering. It is a very gracious, easy-to-play viola, with good, balanced tone across all strings. It is made from Big Leaf Maple harvested less than 10 miles from my home, by the late Terry Howell, who generously gave me the entire log (See Wood Choices–Natural Treasures), and Sitka Spruce, also cut in the Pacific Northwest.
Instrument #29 (violin #11): Orchestral Violin modeled after the 1735 “Plowden” Guarneri del Gesu
This instrument is made of European Maple and European Spruce. It is just a shade larger than the original instrument, and is a very powerful player.
Instrument #28 (five-string #6): Oliver five-string fiddle (Sold)
I made this one also, by request, but not a commissioned instrument…more like an experiment. Cliff Stansell wanted me to try making a fiddle of Oregon Myrtle and Port Orford Cedar. His brother, Les Stansell, is a guitar-maker and wood dealer, and he donated the wood for the experiment (Thanks, Les!). The fiddle plays quite well, and it continued to improve as it opened up. I sold it to a fiddler in Southern Oregon, who is thrilled with the sound and playability.
Instrument #27 (five-string #5): Commissioned Oliver 5-string fiddle (SOLD)
I considered this instrument to be a special project, from the beginning. The customer came to me at a show, asking if I could build a five-string fiddle out of the wood he had. The wood turned out to be curly Koa, harvested in 1982 or before, as that is when he bought the wood, and had been carting it around with him for over 30 years. It was very difficult wood to work– very demanding of skill and patience. But it worked out well, and plays superbly.
Instrument #26 (five-string #4): Oliver 5-String fiddle
I can’t say for sure what kind of maple this is, as the wood was given me by a friend, who has no idea…but the spruce is Sitka. The fiddle sounds great and it is pretty. I made it on the same mold as my other five-string fiddles, but the wood will have to remain a mystery. It has played well from the beginning, but has improved with time.
Side of Oliver Five String Fiddle
Instrument #25 (violin #10): Oliver “Long Model” violin
I constructed this handmade orchestral violin of highly figured European Maple and very fine-grained European spruce. It is a very powerful violin, with superior tone. I made it on a different mold than I have usually used, and it is narrower, so it appears longer, though it is not appreciably longer than my other violins.
Instrument #24 (five-string fiddle #3): Oliver 5 string fiddle (SOLD)
I made this five string bluegrass fiddle from Oregon Big Leaf Maple and Sitka Spruce. It has both a one-piece back and a one-piece front. The maple is from the same tree as instruments #19 and #22.
Instrument # 23 (viola #9): 16-1/2″ Oliver model Lion-head viola
I constructed this instrument of Oregon Big Leaf maple and Sitka spruce, except for the head, which I carved out of Hard Rock maple. It has a really big voice, and is easy to play. Incidentally, this viola is made from the same back-billet as was instrument #7 (violin), years ago. (You can look at the back of each and see the similarity.) I got the billet from Tepper Tonewoods, and saw that it was large enough for a viola and a matching violin. I couldn’t resist. 🙂
Instrument # 22 (cello #2): modelled after the 1712 “Davidov” Stradivarius Cello
This instrument is made of Oregon Bigleaf Maple and Sitka Spruce. It has a one-piece, heavily flamed back, moderately flamed sides (from the same billet as the back) and heavily flamed neck (different billet). The sound is full and open…it has a big voice and is very easy to play. It has been “test-driven” by several professionals, with very good reviews.
Instrument # 21 (violin #9): a violin modeled after the 1735 “Plowden” Guarneri del Gesu.
I built this instrument of European maple and spruce. I slanted the curl the opposite direction from the original…other than that, it was an attempt to emulate the look of the original. It has been played by a couple of professionals who really like it. It does not have the “new” sound with which most of my instruments begin life. It had a mature voice from the second day it was set-up. This is a very good violin.
Instrument #20 (viola #8): an Oliver 15-5/8″ viola.
I built this instrument on the same mold as instrument #9, but with a little flatter arching, and a fuller scroll, but with a narrow neck, making it very playable. The wood for the back and sides is actually from the same billet as #9, as well, so they are really sister instruments.
Instrument #19 (Five-string fiddle #2): an Oliver 5-string fiddle. (SOLD)
I made this instrument as the first attempt from the log pictured in the “wood choices” blog post. It looks and sounds wonderful. I only managed to get these photos for the website: it sold immediately, and I never saw it again. Five-string fiddles seem to be rapidly gaining in popularity and demand. I hope to build many more 5 string bluegrass fiddles in the future.
Instrument #18 (viola #7): a 16-1/2″ viola:
This large viola is modeled after Henry Lanini’s “Viola Normale Moderne” pattern, which in turn is closely modeled after the Andreas Guarneri “Conte Vitale”, but with slightly enlarged lower bouts.
This instrument is made from the same billet of Big Leaf maple from which my #2 viola (instrument #4) was made. There was enough in that billet to make a two-piece back and a one-piece back. This is the one-piece back. It differs also in that, for viola #2, I painstakingly followed the details of the Lanini pattern, including the “cello-style” scroll.
This time I have switched to a “violin-style” scroll, for lower weight and less damping. The neck is a little more slender as well, making this a very playable instrument, but with the same huge sound that the earlier one had. It is very responsive…a fiddler picked it up at a recent show, and was cranking out fast fiddle tunes on it. It stood up to the test very well, and sounded superb.
An accomplished violist played it at the Marylhurst University show, and she stopped after a few notes, to inquire whether this was really a new instrument. I assured her that it was brand-new, less than one month old. She said “..it sounds like an old viola!” (That was music to my ears!)
Instrument # 17 (Five-String Fiddle #1): An Oliver Five-String Fiddle (or five-string violin) SOLD
I built this as my first attempt at a 5-string fiddle. An experienced and popular professional fiddler (Cliff Stansell) from a Southern Oregon band (the Pistol River Trio) had asked about them, so I decided to build one. It plays remarkably well…it is well-balanced, and all, but I am not used to the flatter bridge shape that fiddlers like, so it is difficult for me to get used to it. Other than that, I’m happy with it. As it turned out, it was loved by everyone who played it, and Cliff ultimately bought it. Now we are both happy. 🙂
I made the ribs deeper: 34mm at the end block, tapering to 32mm at the neck block. I also made the pegbox longer to accommodate the extra peg, and deepened the bass-bar to about 17mm, for more support on the lower strings. The archings are just a little higher than my usual, as well, but not out of the ordinary.
I made the back of maple of uncertain origin, the sides and neck are Red Maple from Elon Howe, in Newaygo, Michigan. The belly is Sitka spruce. I am not sure where I got the spruce, but it is quite dense. I usually do not use wood that dense for the belly. It turned out well, though.
Instrument #16 (Cello #1): A Davidov-model Cello:
I mase this cello, modeled after the 1712 Stradivarius instrument known as the Davidov, which is currently played by Yo Yo Ma.
It has good tone, a big voice, and seems pretty playable. I’m not a cellist, but all the amateur and professional cellists who have played it have liked it: They said the set-up was good, the sound was great, and that it is very easy to play…but beyond that I can only say it seems good to me. 🙂
Instrument #15 (Violin #8): A Dolphin inspired violin, (2011)
TI felt that this one was kind of special: An elderly man I met had bought wood many years ago (Bigleaf maple and Sitka spruce– no idea where he got them), hoping to build a violin. He finally became aware that it simply was not going to happen, and when he heard that I am a maker, he gave me the wood, so that he could at least have the satisfaction of knowing the violin was made.
As it turned out, he had lost the neck billet, and the wood for the corpus was a tad narrow, so I had to add “wings” in the lower bouts, making it a four-piece back. It is visible, but not objectionable, nor even particularly rare. And he is happy. So I’m happy, too. The violin plays well, and has good tone. If I remember correctly, the wood was 45 years old when I got it.
Instrument #14 (Viola #6): A 16″ Oliver viola.
I constructed the front plate of this viola of Engelmann spruce from Tepper Tonewood. The back is Michigan Red maple from Elon Howe. It has a big viola sound. The finish is spirit varnish.
Instrument #13 (Violin #7): A “Milanollo-inspired” violin. (2011)
I made this instrument on the same mold as #10, but using Big Leaf maple and Sitka spruce, both from Tepper Tonewoods (as opposed to the Red maple and Sitka of #10.) The look is different, but the sound is very similar. This one, like #10, is a real player-pleaser.
Instrument #12 (Viola #5): A 14-7/8″ Brian viola:
I modeled the viola loosely after Gasparó da Saló 1580 (2010)
Originally, I made this viola in response to a complaint that my other violas were too large, and that most 15″ violas did not sound very good. The viola seems to have overcome both of those problems…It sounds very good, it is not much bigger than a violin, and it’s pretty. The belly is Engelmann spruce from Tepper Tonewoods, while the back, neck and ribs are Big Leaf maple from the same source. The purfling weave is the only part that is really copied from da Saló’s viola.
Here’s what it looks like in comparison to #11 and a violin (#7):
Instrument #11 (viola #4): A 16-1/2″ Oliver viola, (2010) (SOLD)
This viola design came about because I was told that a 16-1/4″ viola was the most commonly demanded size–and I had no such design–but it turned out larger than I intended, so I simply have two 16-1/2″ designs (ah, well...it was a good design.)
I deliberately made it wide and deep, hoping that this would produce a big voice. I don’t know if that was a valid theory or not, but the viola does have a big strong voice. The belly is Sitka spruce, from John Tepper, of Tepper Tonewoods, in Shady Cove, OR. The back, neck and ribs are Michigan Red Maple, from Elon Howe, of Newaygo, Michigan.
(This instrument was eventually converted to a five-string viola at the customer’s request. It made a very powerful five-string viola.)
I used spirit varnish again.
Instrument #10 (violin #6): A Milanollo-inspired violin, (2009) (SOLD)
I built this one is built in the French tradition (flush, one-piece inside mold), under the instruction of Paul Schuback. None of the errors can be blamed on him… he has an eagle’s eyes, and misses nothing. But my skills are just beginning to grow, under his generous tutelage, so there are some glitches…I hope to become a decent maker before Paul retires.
I chose Michigan Red Maple, bought from Elon Howe, of Michigan, and Sitka Spruce, from John Tepper, of Oregon. Finally, I used spirit varnish, under Paul’s guidance.
I think this plays the best of all, so far, (as of 2009.) And it has far fewer errors than before, so Paul’s teaching is paying off. I must press on, and continue to grow. This one was sold to a player in Boston, who loves it.
Instrument #9 (Viola #3): A 15-3/4” Oliver viola, (2008)
In this, I was inspired partially by Lanini—but it is ultimately my own design, so I named it the “Oliver”—and all the viola designs I come up in the future with will bear that title, but with different size designations. Oliver is my middle name, and that of my Dad and Granddad. When my Dad was young, he was called Oliver, to avoid confusion, as his Dad was called Chester, or Chet. (But we all ended up as “Chet.”) This is the first “Oliver” to join the family in a long while.
I made the one-piece back of curly maple (species unknown, but probably Red Maple, same as the #2 instrument and the #20 instrument) from Crosscut Hardwoods. The belly is of Englemann spruce, from John Tepper. The sides are of Bigleaf maple from another hardwood store, while the neck is Big Leaf maple from John Tepper, again. The blocks are willow, which I cut and dried, from a local tree, after a storm.
I built this instrument with the highest arching I have ever made on a viola, so it is somewhat experimental in nature. It turned out to have a really big voice—very rich and deep. It was sold to a young man in Boston, who loved it, but was too busy to play it, so I bought it back from him.
I used spirit varnish, again…
Instrument #8 (violin #5): A Dolphin-inspired violin, (2008)
I made this violin of Big Leaf “quilted” Maple, and Sitka Spruce, both from hardwood stores. The maple was just too pretty to pass up, so I had to try a fiddle made of it. I did use spirit varnish again…I hope to master this process under Paul Schuback’s tutelage. It has a pretty bright tone. I expect it will find a home, soon.
Instrument #7 (Violin #4): Another “Dolphin-inspired violin”,
(labeled 2006, but not varnished until 2008)
I built this violin with a grafted scroll– It was my first experiment with that procedure. It turned out to be a very satisfactory job. I am pleased with the results.
I made this instrument of Bigleaf Maple and Englemann Spruce, bought from Tepper Tonewoods. Originally I got a big enough piece of maple to make a matching viola to go along with the violin, but did not make the viola until years later: it is the Lion-head (16-1/2″) viola; my #23 instrument. On this one I used spirit varnish…my first try at this process.
Hear Instrument #7 play! Daniel Forster playing Celtic tunes…
Instrument #6 (Double Bass #1): A 7/8-size “William Tarr-inspired Bass”, (2007) (see photo essay on TalkBass)
A friend requested this instrument. I built it as my first double bass (also called “upright bass”, “string bass”, and “stand up bass”), as well as my first commissioned instrument. I built it for Jacob Beaty, for the cost of materials, as I was not even sure I could build a good bass. It turned out well, and has been played by a number of professional bassists, who were very pleased with the response, playability and tone. The wood is Big leaf Maple and Englemann Spruce, both from John Tepper of “Tepper Tonewoods”, in Shady Cove, Oregon. The plan called for a flat back, but I arched it. (I just have never cared for the look of flatback basses.)
Jacob liked the idea of an inlaid fleur-de-lis, so I did that inlay in abalone shell.
I used the book and plans I got from Peter Chandler, of Ontario, Canada. He was a big help to me, and, sadly, died just before the instrument was complete. I had really wanted him to see the finished work. He’s another friend I will surely miss.
The bass was professionally appraised at $12,000 USD, which was a shock to me, though gratifying, of course. I think I can build them better now, so who knows? Perhaps I have found a niche. At any rate, Jacob got a great bass, and is very happy.
The youngster in the photo is Jacob Beaty, for whom the bass was built. He is grown, now, but still playing that bass.
Instrument #5 (Violin #3): A “Milanollo-inspired” violin (14-inch viola, as it turned out), (2005)
Michael Darnton suggested that I buy a copy of “The Art of Violin Making”, and a copy of the Strad-poster of the Milanollo, a 1728 Stradivarius instrument, and use the two together, to upgrade my skills. This was an attempt to do so. I still tended to get in a hurry, being impatient to “get it done”, and I caused a lot of errors that way.
This one was constantly accused of sounding like a viola, too… I still had not mastered the archings (though I did manage to shorten the corners a bit), so, when I learned enough to know what I had done wrong on the archings, I re-strung the instrument as a 14″ viola, and it turned out to be an excellent little viola. I used oil varnish, and attempted an “antique” look. The wood is supposedly “European Maple and Spruce,” but I bought it on e-Bay, so who knows…?
Professional violists and violinists have played this viola (after I re-christened it a viola, and strung it as such.) They have been astonished at its responsiveness, power,and open sound. I’m pretty tickled with it too. 🙂 Here’s a sample video recording of the little viola:
Instrument #4 (Viola #2): A Lanini-inspired viola, (2004)
I received this design from Michael Klein, who got it in turn from Victor Gardner (aka Vittore Giardinieri—evidently his given name), who apparently got it from Henry Lanini. I later discovered that this pattern closely follows the “Conte Vitale” viola by Andrea Guarneri. All Mr. Lanini changed, evidently, were the lower bouts (he enlarged them.)
This viola was my best instrument to date, and everyone who played it loved the tone…but at 420mm on the body (caliper measurement), it was a little large for some people. I used Big Leaf Maple and Englemann Spruce, with oil varnish, lightly antiqued.
That’s Dr. William Sloane, in the background, below, playing this viola—I am on the back left, playing my #3 violin, while Sam Compton and Anya Shoennege are playing Dr. Sloane’s 1714 Strad, and 1742 del Gesu—(Cajun music, as I recall)… Sam died not too long after this was taken…I really miss him… He had a big heart, and he was truly a warm soul.
This one was sold to Joshua Wright, and was played in a college orchestra in Oregon. He is very happy with it, as are his teachers and directors. I hope to make many more violas to this design.
Instrument #3 (Violin #2): A “Dolphin-inspired” violin (2004)
This violin is modeled (supposedly) after the Dolphin, a 1714 Stradivarius instrument. I have never seen the Dolphin, and have only seen small, poor-quality photographs. The teacher (Michael Klein, of Grants Pass, Oregon) who guided me through this instrument gave me the patterns, and they were given to him by someone else. Who knows whether they are accurate in any respect…but that is what it is supposed to be. Jake Jelley directed me to Mike, as well as to Ed Campbell before him. Both were a big help.
Here is part of the back— the inlay was actually to hide a repair necessitated by my error.
And the front:
The back is Carpathian Maple, bought from Ed Campbell, of Boiling Springs, Pennsylvania; the front is Englemann Spruce, bought from Michael Klein. The neck is Big Leaf Maple, also from Mike Klein, and the ribs are Big Leaf Maple bought from a hardwood store. (Quite a patchwork. ) I used oil varnish, and attempted an “antique” look..
I did not get my archings quite right, and was told by many players, “This sounds like a viola…” Michael Darnton later told me that my archings were more similar to what a viola should be, as opposed to a violin, which may explain all the comments. However, it has been played by a variety of professionals who all liked it. Sam Compton, a very experienced player, really liked this fiddle, and played it a lot at Michael Darnton’s workshop in Claremont, California, in 2006. I surely miss him….he died in 2007.
Instrument #2 (Violin #1) : a “Strobelesque” violin.
Partway through the first lutherie attempt, I had gotten hold of the very helpful series of books by Henry Strobel. None of what I did can be blamed on him, however, because I am constantly guilty of not quite following the directions.
(I am getting better about this, and have adopted the motto, “Keep to the path until you have learned the territory—then begin to explore!”—but I still haven’t completely reformed in this area.) Anyway, though I began this violin with his pattern, the result cannot be blamed on Mr. Strobel.
This violin plays better, and has a louder voice…better wood, better construction…not sure what else. I was still making many mistakes, especially in arching and corners. The one-piece back and the sides are maple—probably Red Maple back and Bigleaf sides and neck—and the belly is Sitka spruce. I used oil varnish. The plank of curly maple I bought for the back was big enough for three instruments; instruments #9 and #20 (both 15-3/4″ violas) were the other two made from this billet.
Since this was my first attempt at a violin, I will probably just keep it, rather than sell it. It sounds good, looks OK, and I play it regularly, but it is pretty amateurish in most respects.
Instrument #1: a 15” ‘Brian’ viola (#1), completed 2001
This was my first attempt at lutherie, and was made specifically for my youngest son, Brian, who, though he promptly quit playing viola, did go on to learn guitar, and guitar-making. I am told he is beginning to play the viola again, intermittently– there still is hope. :-))
The back and ribs are maple of an unknown variety (Bigleaf, almost certainly), gotten from a hardwood store. The belly is Englemann spruce, from the same source. The neck is from a downed Bigleaf maple near our house at the time (2000-01). Jake Jelley, a luthier friend from Vancouver, Washington, was a big encouragement to me during the making of this viola—without him I might not have completed it.
The inlay is abalone shell—I was not aware at the time that “real luthiers” don’t do this, and I was copying a design from my great-great-grandfather’s fiddle—a cheap, cottage-industry violin of German origin (near Mittenwald, I am told, prior to 1900). It is pretty, and I still like it—I just don’t do that any more. Same with the heavy “ripple-effect”. I liked it, but was told later that it is frowned upon.
It has a fairly soft voice, and many, many marks of the amateur, but it is pretty.