ThemesGravity
  • Contact
    • Contact Us
    • Instruments Available
    • Special Order Cases
  • Technical
    • Violin Models
    • Viola Models
    • Wood Selection
    • Set Up Materials
    • Set Up Dimensions
    • Varnish
    • Blind Listening Tests
    • Strad vs Borman
    • Modal Analysis
    • CT Research
    • Violin Making Workbook
  • Photos
    • Recent Instruments
    • Available Instruments
    • Baroque Instruments
  • Clients
    • Partial Client List
    • Testimonials
    • Client Gallery
    • Client Recordings
  • Personal Vitae
    • About Terry
    • Journal Articles
    • How To Videos
    • Baroque Instruments
  • Workbook Home
  • Classes with Terry
  • Afterlength
  • Back
  • Belly
  • Blocks
  • Bridges
  • Bridge Placement
  • Design
  • Fingerboard
  • Glue
  • Neck Set
  • Patina
  • Pegs
  • Peg Alignment
  • Purfling
  • Recipes
  • Ribs
  • Scroll
  • Set-Up
  • Soundpost
  • Strings
  • Tailpiece/Tailgut
  • Tools
  • Varnish
  • Wood Selection
  • Woodworking
Printable Brochure

"I just got back from a tour of Israel, everyone coming backstage after the concerts thought that I was playing a Guarneri del Gesu!"

Nicolas Kendall - Time for Three

Violin Making Workbook

Back

Once the wood for the back is selected and the template used to verify that there is sufficient room for the outline, each half of the plate can be flattened. Use a jointer plane and get each half glass-plate flat. Now check to see that there is sufficient height for the arch. Measure out from the proximal border (what will become the center seam) 15mm and check the thickness of the wood at this point. Repeat on the other half. Also, check the edges to see that you have enough material for the edge thickness, taking into account that wood will be removed when the plate is flattened again after joining. Usually one half of the plate will be thicker than the other, and more often than not, rib stock can be ripped off of that half.  

Set up the bandsaw with the table tilted, so that the distal edge of the plate rests on the bandsaw table. Use a block plane to clean up the distal edge so that it will ride smoothly over the table, but be careful not to reduce the width of the plate too much. The anterior aspect of the plate (the flattened side) should be resting against the bandsaw fence. Take into account the kerf thickness of the blade when plotting the cut. The rib stock, once it is ripped-off, should be between 1.9mm and 2.2mm thick at this point. (Refer to the section on ribs for a more complete description of this process.) Even if the other half of the plate doesn't have enough thickness to produce rib stock, it doesn't hurt to run it through the saw at this point. The saw is already set up anyway, and making a cut to reduce unnecessary thickness will save work later on when you begin rough arching the plate. 

 

 

 

 


I have been a violin maker for 43 years and I am proud of the reputation I have built. I am especially proud of the fact that many of today's most well known musicians have acquired multiple instruments of mine over the years; affirming the fact that not only do my instruments retain their sound quality but that they improve with time.

What's New?
  • Summer 2022 Newsletter
  • The Strad Part 1: Unspoiled Charm: The Vieuxtemps Guarneri del Gesu
  • The Strad Part 2: A Unique Pearl
  • Documentary - Maker: The Art of Terry Borman
Contact

1221 E. Rodgers Dr.
Fayetteville, AR 72701

By Appointment Only

Visit Contact Page

Newsletter
  • Home
  • About Terry
  • Clients
  • Contact Us

©2019 Borman Violins - All Rights Reserved