On The Golden Proportion And Why It Is Bad For Your Violin.
In 1999 I almost gave up making violins.
I was so frustrated that all I could do was to copy someone else's outlines without understanding WHY.
Desperate, I made the decision to never touch my tools unless I understand why I do what I do.
I wasn't content with copying my models from posters and then telling lies to my clients that those were "copies" or "models by" (ever heard about lens distortion at least?)
I admire by the way all other instrument makers and factories do creating models from photographs!
But I decided to take a different route and find out WHY the violin has the shape it has and WHAT the original makers had in their minds when they created those shapes!
(Hey, they had to appeal to the minds of the nobility and royalty, they could not just makes "copies!")
And Strad could not just go to strad.com and buy a poster of Strad!
He had to make it from scratch, if that makes sense to you...
(you don't have to agree).
Then things kinda started to work for myself.
In 1999 I made four violins in one month to just test my theories.
This was one of the better ones.
Play the video to find out what the Golden Proportion did to it.
I played it for a while, and then did not touch it again. But I've learned something about the Golden Proportion!
I've been designing violins ever since, those violin lines today are my native tongue. LOL.
So much that I do it free-hand (by the way I also trained a group of 22 instrument makers, just to see if its' just me who can draw it free hand, nope.
There is nothing special about myself.
Anyone can do it knowing the methods of the 17th century. Mine are super special methods.
P.S. An additional experiment in this violin was the testing of paint and golden leaf.
Watch the video till the end to crack LOTS of secrets for FREE and without effort.
