Different contruction methods.

Posted on | June 30, 2011 | 3 Comments|

In the workshop, I’ve been busy varnishing a Stradivari model cello and another Guarneri violin on order.  My assistant in the next room is making a copy of a viola made by G.P. Maggini in Brescia from the early 1600’s.

The work of Stradivari and Guarneri vary in many ways but the construction methods used were most likely very similar. Both makers worked in Cremona with their houses on the same street using methods developed earlier by the Amati family. In Brescia, just 50km away from Cremona,  the makers had their own tradition and methods of making instruments.  So I wanted to have the Maggini model viola made using a different method than the violin and cello – not just a Brescian style viola made in a Cremonese way.

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A key element of the Cremonese method is the internal form. Above are the sides of my next Guarneri copy. The sides were built around an internal form. Once the sides are complete, the form is removed to be used for the next violin. This gives some consistency to the  shape and dimensions of each violin.

As a contrast the Maggini viola was most likely built with no form. So the method we used began with carving the outside and inside of the back and gluing the sides directly to the back. (see 2 photos below)

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Once the sides were finished, they were traced onto the wood for the front. The front was carved and glued to the sides, closing the box, leaving only the final edges and purfling to finish.  Maggini may have used this method and judging from the asymmetry in the shape of his instruments he didn’t use an internal form.

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(Though it has been proposed that Maggini may have used a small form to make the C’bout ribs because the consistent shape and size of middle bout seen on his violins and violas. We did experiment with this as well.)

The aim in using methods that the original makers may have used is to capture the feel of the original instrument, both in appearance and sound.  It’s also interesting to test the theories of construction methods proposed by my colleagues to see how they work in practice and raise our own level of expertise.

Stradivari Cello – Smithsonian

Posted on | February 19, 2011 | 1 Comment|

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This week I flew to Washington to visit the Smithsonian and the Library of Congress.   Both museums have great collections of string instruments and in  particular I went to see the Stradivari ‘Servais’ cello from 1701. I already had some information on the ‘Servais’.  The purpose of this trip was to gather more information, measurements, take detailed photos to use while making my cellos.

I measured the thicknesses of the front, back and sides and recorded the arching shapes and various measurements on the body and scroll. Museum curator Kenneth Slowik was very kind and gave me a wonderful room with great natural light to work and take photos. My aim with the photos was not to take the standard shots but to focus on details of varnish wear and the sculptural qualities of this instrument. Below are a couple of photos I took of the Stradivari cello.

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The fluting is beautifully carved right around under the scroll with a sharp central spine. And the turns around the eye show typical straight tool marks.

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The photo above shows a portion of the back:  Some of the varnish here had developed a very delicate craquelure. This texture appeared only on a few areas of the back and sides.

Over at the Library of Congress I studied the Guarneri violin once played by Fritz Kreisler.  Also I couldn’t leave Washington without looking over the stunning ‘Betts’ Stradivari violin before heading back to Ottawa to complete the cello on the bench. (thank you to Library of Congress curator Carol Lynn Ward-Bamford)

3D Print of a Ruggeri violin scroll

Posted on | January 25, 2011 | 4 Comments|

One of the important tools I use in the workshop are casts taken from great antique instruments. Our collection includes old style casts made from Plaster of Paris and more modern and durable plastic resin casts. We use these at the bench as a reference or inspiration while copying an instrument while the actual instrument is back with it’s owner.

There are many ways to make casts off an instrument and while it is a safe procedure there is a lot of handling of the instrument. Many private owners of historic instruments or museums are hesitant to have this done.

An alternative technique we have been exploring is 3D laser scanning and 3D printing.  A while ago we scanned a violin by Francesco Ruggeri (from Cremona, Italy, 1672)  at the Museum of Nature in Ottawa.  The scanner collected data off the surface of the violin in the X, Y and Z  axis to form a virtual 3D computer model. With the data from the scan I had a solid 3D print made of the scroll. (shown below)

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At the moment I’m organizing the 3D printing of the body of the Ruggeri violin.  From the 3D print I can take measurements, make templates and study to make a copy. I look forward to see how this technology can be futher incorporated into our workshop.

Violin and viola repairs & restorations in Ottawa

Posted on | September 30, 2010 | 4 Comments|

For inquires regarding adjustments, repairs and restoration, please call 613 569 4803.


With the start of the new academic year and concert season, it’s been a busy time in the workshop.  On the restoration front, we’ve had some interesting instruments come in for repair. Photographed below are some of the instruments we have now for repair work.

Elophen Poirson violin, Lyon, 1910.

Antonio Stradivari violin, 1700.

Hill viola,  London, 1810.

Stefano Scarampella violin,  Mantua, 1900

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Meanwhile I am making a fourth violin based on the Guarneri, ‘Lord Wilton’ 1742. This model seems very popular with players with it’s compact size and large rich sound. Once I complete this violin I’ll begin making two Stradivari model cellos for clients. Going from the spontaneous style of Guarneri Del Gesu to the very clean work of Stradivari will be challenging.  But it’s these challenges and continuing to study great instruments like the Stradivari violin above that make my work so fascinating year after year.



Mittenwald Competition Germany 2010

Posted on | July 17, 2010 | 2 Comments|

In May I entered the International Mittenwald Violin Making Competition. This competition is held every four years and attracted 175 violin makers from around the world. The instruments are judged on sound and workmanship by an international panel of  judges.

The violin I entered won bronze medal.  (both pictured below)

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The violin was my usual Stradivari model developed over many years.  I took what I felt were the best elements of Stradivari’s work and tried to produce an overall balanced and spontaneous visual impression. Also the workmanship was directed towards with a beautiful strong projecting sound and easy playability.   The violin was finished with an evenly coloured varnish with no shading or antiquing to fit within the rules of the competition.

Stradivari violin copy – top block

Posted on | June 2, 2010 | No Comments|

This month I’ve finished the woodwork of a Stradivari copy I’m making for a client in Quebec. It’s now ready for varnishing and will be antiqued to capture the feel of the original violin.

Before I glued the front on  I stained the inside which is photographed below.  This violin is a copy of particularly well preserved example and I thought I’d also copy the top block inside as well.

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When Stradivari was making his violins he attached the neck to the body with three iron nails and glue.   Some makers preferred to use one nail but the basic idea was common across Europe. The nails went through the top block into the neck to  hold the neck in place while the glue dried and form a strong joint. While many of the top blocks in older violins have been replaced during repairs and modernization,  some have survived.  The nails often have have removed, the necks modernized and mortised into the block in the modern way.

In this violin I’m making, I copied the look of an original top block with the three iron nails removed.  I took an antique hand made nail with almost all of the shaft filed off and hammered three marks.  This left just the imprint of the head and a little depression from the shaft.  Finally I added stain so it would appear slightly dark from “years of slow rust”. (See below)

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NAC instrument collection

Posted on | May 18, 2010 | No Comments|

The players in Ottawa at the National Arts Centre Orchestra are fortunate to have access to a collection of string instruments and bows from the ‘Zukerman Musical Instruments Foundation’. This collection was begun by the orchestra’s musical director Pinchas Zukerman.

I was asked by the NACO to appraise the collection in order to update their insurance values. So I headed downtown to look over the instruments.

A few quality examples stood out:

Hill viola from London about 1810
Nicolas Lupot viola from Paris 1806
R & M Millant violin from Paris 1957
J.& A. Gagliano violin from Naples 1785
And two English bows from W.E. Hill surprisingly stamped with the same year (1950)

While there, I was also asked to check them over for any repairs and general upkeep they may need.

Some of the instruments  I had maintained in my workshop and were in very good condition. A  few needed minor seams glued but one was in quite poor condition. This instrument labeled Gio. Dollenz was on loan to the very fine violinist, Donnie Deacon, principle of the second violins.

The ‘Dollenz’ violin had an open crack in the back under the soundpost. The crack had been repaired with a poorly fitted wooden patch glued inside. The repair had failed and wasn’t able to hold the crack closed. The violin also needed the fingerboard planed, new bridge, soundpost and a complete clean.

Below is a photo of violin with the strings removed, before I started work on it.

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I removed the back and made plaster casts to support the fitting and gluing of a new maple patch. The patch was inlaid into the back to reinforce the crack and strengthen the back so it could support the downward pressure from the soundpost and strings. The repair also involved cleaning, gluing and varnish retouching of the crack.

The back had distorted over time from the previous poor repair, so one goal was to improve the shape of the back, before gluing the patch in. I used a process of making plaster casts of the back, which I reshaped. Then carefully I pressed the back into the final cast to improve the arching shape.

Once the back was restored it was reglued to the violin and the fingerboard was planned and a new bridge and soundpost fitted. The violin was given a careful clean and restrung. The sound of the violin was vastly improved and is now back in the orchestra with D. Deacon.

The violin after the restoration looking far more healthy.

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7/8 violin- Andrea Amati

Posted on | April 13, 2010 | 6 Comments|

My assistant is making a copy of a 7/8 size violin by Cremonese maker,  Andrea Amati.  Almost 20 years ago I was inspired to copy the same violin so I’ve enjoyed seeing this instrument take shape. We hope to have this violin available in the fall. The 7/8 size may suit either a young player or an adult with smaller hands.

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Andrea Amati made violins ( also violas and cellos) approximately from 1550-70  and laid down the foundation for all violins to follow. Last year I had the chance to see a few Andrea Amati instruments and was reminded of his extraordinary level of workmanship even when compared to other makers such as Stradivari.  In my opinion Andrea’s scrolls in particular stand out as supreme examples of the violin makers craft. (see below)               dscn6449-copy

Book- ‘Trade Secrets’

Posted on | March 21, 2010 | 1 Comment|

My copy of  the book ‘The best of trade secrets’  arrived recently. It’s a collection of articles from the ‘Trade Secret’ section of the British monthly magazine – ‘the Strad’.

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The topics cover a broad range of violin making techniques and some restoration methods. An article I wrote on reinforcing necks first published in ‘the Strad’ was included.  The 150 page book is available from ‘the Strad Library’.  Click here.

Ruggeri violin

Posted on | January 20, 2010 | 2 Comments|

Recently this Cremonese violin by Francesco Ruggeri came through our workshop. We took the time to measure and photograph it, before returning it to it’s very kind owner. We also took this violin to the Museum of Nature to be photographed which I will present later.

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With the information I gathered I will make a copy of this violin sometime soon.  While there is a lot of information published on Stradivari and Guarneri, there is comparatively little available on F. Ruggeri. I’m interested to copy this Ruggeri to learn more about this talented maker.

In the meantime I’m finishing another Guarneri Del Gesu violin, a long pattern Stradivari violin and Stradivari cello.

Below: Tracing the outline of the back and one of the fine corners of the back.

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    About

    Guy Harrison Violin Maker
    792 Gladstone Avenue
    Ottawa, Ontario
    K1R 6X9
    Tel: 613 569 4803

    1997 Silver medal for viola in the Mittenwald International Violin Making Competition, Germany.

    2010 Bronze medal for violin in the Mittenwald International Violin Making Competition, Germany.

    2014 Workmanship award for violin in the Mittenwald International Violin Making Competition, Germany.

    2016 Silver Workmanship medal for cello in the VSA Violin Making Competition, USA.

    Member of the American Federation of Violin & Bow Makers and Violin Society of America.

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