My Latest Two Violins

[John E Giarrizzo]

In a previous thread Mark Swanson has suggested that we post more pictures of completed instruments.

I just finished two violins, Number 19 and 20. Built simultaneously.

19: Light Brown
Back, ribs, fingerboard, all fittings: Maple
Top: Spruce/pine/fir??? from a construction 2x10 found in a parking lot
Neck: Maple?? from an old table leg
Purfling: Solid rosewood.

20: Natural color
Back: Maple
Top: same as 19
Neck: Same as 19
Ribs: Ebony
Fingerboard tailpiece, pegs, purfling: Rosewood
Chinrest: ??

Both:
Linings, Blocks, Bass Bar: Spruce from my old piano
Finish: Ace Hardware spar varnish
Strings: Dominants

[John E Giarrizzo]

[John E Giarrizzo]

[Dave Stewart]

Beautiful work John. Crisp details.... great colours.

[John E Giarrizzo]

Thanks Dave.

I looked at your website. Absolutely amazingly beautiful --- your guitars!!! I am honored to get a compliment from you.

[Dan Gilmore]

Great work, I really like the contrasts in tone. And the craftsmanship is first-rate.

Dan

[John E Giarrizzo]

Thanks Dan. Like you, I enjoy using the natural colors of wood, and especially using "recycled" materials.

[Steve Senseney]

Nice!

[John E Giarrizzo]

Thanks Steve.

I'm thinking about taking these two to a couple of local violin dealers for review and appraisal, as my wife has told me that there is no more room in our house to be storing these things --- that unless I sell them, no more. I don't know --- it's like selling part of myself. And I don't know if there is a market for these amateur made "non-traditional" looking ones.

Several years ago, a couple of professors at a local college violin department --- including the Department Head with a PHD in violin --- played a few of my earlier ones and were really impressed with the sound. Like I said in an earlier post, they are worth more to me than the few dollars I could get --- but then again, although Social Security is paying the food and electric bill, would be nice to have some extra pocket change. Doesn't cost me much to make --- mostly for strings, hardware, varnish, as I even make all my fittings. I don't know.

[Mike Wilson]

Very nice work and very nice study in contrasts. I like them!

[John E Giarrizzo]

Thanks Mike.

I'm really trying to take a break from making, but I'm already thinking about the next ones. Read somewhere that violin making is addictive. It's true. I need to get back to some other hobbies and interests. Plus still trying to learn to play these things.

Thanks to all for the encouragement.

[Cliff Green]

Your work look very nice. I love the originality. How difficult was it to bend the ebony ribs? I'd love to learn to turn pegs since I have a good supply of Dogwood that I think would make great fittings. Do you have any advice on setting up to turn pegs?

Perhaps you would feel better about selling your violins if they went to a deserving child who could otherwise only afford a poorly set up import violin. I haven't made much money selling mine, but I get the materials and tools paid for and the satisfaction of watching some one enjoy my work. I played Cello in a quartet with instruments I had made and that was a humbling experience hearing all of that wonderful sound all from my hands.

Cliff

[Craig Tucker]

Your work look very nice. I love the originality.


I haven't made much money selling mine, but I get the materials and tools paid for and the satisfaction of watching some one enjoy my work. I played Cello in a quartet with instruments I had made and that was a humbling experience hearing all of that wonderful sound all from my hands.

Cliff

Very cool.
I agree with Cliff, the origonality of what ever one chooses to make, is key to much modern construction.
As it should be. (my opinion, of course)
You can be a maker that copies the classic construction of Strads, Amatis, etc., including European wood choice, classic varnish - technique, and all the rest, (without considerable variation) or a modern maker using whatever wood (including local wood choices - which I choose to use also) is available for construction, whatever finish is desired, without the attention of copying exactly or even very closely, the work of hundreds of years ago.

Amen for both schools, huh?

I swear John, you should see Fransis cox's ebony violins... (with the belly and backs and ribs and necks of ebony...) or even just hear them.
In many ways I believe you two guys would have found much in common to discuss.

These violins are EXTREAMLY well done john.

ctviolin



In modern violin making, I believe that there is a dire necessity, and plenty of room and reasoning for both schools attempts at construction.

[John E Giarrizzo]

Cliff,

Thanks.

Bending the ebony: This particular piece bent OK using cold bending. On a previous violin, I had bent solid ebony purfling from the same batch. On these last two I bought some new ebony, as I wanted that for the purfling. Nothing I could do got it to bend without breaking, which is why I went with rosewood. From what I've read, that is typical of bending ebony --- some batches do, and some don't.

The pegs: I start with rectangular blanks. While still rectangular I drill a .160" Dia hole in one end, and a small center in the other. I made an aluminum arbor with a matching diameter post, and a socket head screw as a driver. Turn the diameter of the bead and undercut. (On some, I put ebony ring). Turn taper with compound. After all the lathe operations I glue a paper outline of the peg shape. Using a 1" belt sander shape the peg. Then with an oscillating spindle sander I put the concave faces in --- all by hand and eye. Then put chamfer on edges. Turn the .160" insert in the lathe. Use lathe center to align and glue into peg. Turn peg around. Cut and finish insert.

Pictures to follow.

Perhaps you would feel better about selling your violins if they went to a deserving child who could otherwise only afford a poorly set up import violin. I haven't made much money selling mine, but I get the materials and tools paid for and the satisfaction of watching some one enjoy my work. I played Cello in a quartet with instruments I had made and that was a humbling experience hearing all of that wonderful sound all from my hands.

I may do something similar with mine. They're not doing any good collecting dust. I too have played one of mine many years ago for Church services. And I set up one as an octave violin and another as a short viola to be used in my other hobby of multi-trac recording. I recorded some violin parts with a violin that I inherited from my Grandmother --- was my late Uncle's. Amazing --- what this new software can do. I record many many many takes --- and then a few more. A few good notes in each one. Cut and paste --- and it sounds like I can sort of play the thing.

And Thanks, Craig

I agree with Cliff, the origonality of what ever one chooses to make, is key to much modern construction.
As it should be. (my opinion, of course)
You can be a maker that copies the classic construction of Strads, Amatis, etc., including European wood choice, classic varnish - technique, and all the rest, (without considerable variation) or a modern maker using whatever wood (including local wood choices - which I choose to use also) is available for construction, whatever finish is desired, without the attention of copying exactly or even very closely, the work of hundreds of years ago.

Amen for both schools, huh?

I've heard "discusions" on traditional versus modern There is a place for both, however to be purely traditional, one would have to work to candle light <g>. I personally like being "creative" <gg> . And I see nothing "wrong" with a "modern" sounding instrument for "modern" unique music. It's all so subjective.

I swear John, you should see Fransis cox's ebony violins... (with the belly and backs and ribs and necks of ebony...) or even just hear them.
In many ways I believe you two guys would have found much in common to discuss.

I'll try to check him out.

John

[John E Giarrizzo]

[John E Giarrizzo]

[John E Giarrizzo]

[Craig Tucker]

I swear John, you should see Fransis cox's ebony violins... (with the belly and backs and ribs and necks of ebony...) or even just hear them.
In many ways I believe you two guys would have found much in common to discuss.

I'll try to check him out.

John

Oop's, Mr. Cox is retired now, and living in semi-recluse, after a really rough patch a while back...

He was never really part of the computer generation.

If you are interested, I could probably go get a photo or two - he's still got around 75 or 80 violins set up in his living room.

If you're interested I'll go shoot one of his two entirely ebony violins... He is still interested in violins, but is sort of out of commission with the violin making world.

BTW - Great peg work! another thing I've never made.

[John E Giarrizzo]

Oop's, Mr. Cox is retired now, and living in semi-recluse, after a really rough patch a while back...
He was never really part of the computer generation.

Ya --- I did a google search and turned up no info

If you are interested, I could probably go get a photo or two - he's still got around 75 or 80 violins set up in his living room.
If you're interested I'll go shoot one of his two entirely ebony violins... He is still interested in violins, but is sort of out of commission with the violin making world.

Sure. When you have the time.

BTW - Great peg work! another thing I've never made

Thanks.
One of my future ideas was an all Ebony violin. Another is an all hardwood ---back ribs top neck --- same wood --- too many ideas, not enough time.

[Craig Tucker]

--- too many ideas, not enough time.

I hear ya, brother...