|
|
|
A violin coming from the hands of a single person
— referred to as “benchmade” — is a rarity today. Most violins are made in pieces: a specialist
carves the scroll, another carves the arching, a third inlays the purfling and so forth. While a nice
violin often results, the individual character gets lost in the process. Character is what makes
professional violins alive, thrilling, and visually fascinating.
Stephen Perry™ benchmade violins start at $4,000.
Contact Us about your benchmade Stephen K. Perry violin
|
|
|
|
2010 Del Gesu pattern
violin
Call to interview this fine instrument.
Slide show links to on-line album and
full size images.
Need a case & bow? Contact Us
|
|
|
|
|
|
|
My approach:
The state of violin making
Most violin making today tends to be somewhat sterile. I suspect the sanded perfection of mass
produced violins and the pressure to conform presented by competitions greatly stifles much
innovation. I can't tell most modern violins apart, with notable exceptions, of course. Most don't
seem to present any kind of real conceptualization; they are just clones of greater or lesser quality
of the old violins. I like old violins, but I like to know I'm looking at a piece of wood, too. Most
modern fiddles look over worked to my eye. Too much sanding and smoothing and messing about
with this and that.
Fast and decent work
I like looking at fiddles of the Brescian school. These guys worked with wood and acknowledged it,
worked with it. Not that I don't like the Cremona school of imposing perfection on wood, but I'm
rather fond of good solid carpentry. I have a difficult time distinguishing art from carpentry
anyway. And a violin is simply a tool. A nice tool, but just a tool. I like violins to have texture, to
be interesting. Reviews in The Strad like this too, writing of black mastic oozing around the
purfling, lovingly pointing out tool marks and so on. Things the same writers would be horrified at
in modern violins.
So that's what I try for: good solid carpentry, acknowledging and working with the wood, protecting
the work with thin honest varnish, and striving for interesting and effective acoustics. And of
course, to make a pretty fiddle.
Wood
I've used a number of kinds of wood. For backs, I've used big leaf maple, hard birdseye maple,
northern red maple, and nice Bosnian maple. Tops I've used red spruce, sitka, Engelmann, &
European. I think I like the traditional woods best for a purely classical model, with red spruce or
Engelmann and red maple for fiddles. Although big leaf is a strong second for fiddles. I prefer
broad figure over tight figure, and rather like slab cut backs.
Arching, graduation schemes, and acoustics
I mostly make Stradivari influenced models. I've been influenced by the Betts and the Milanollo,
but I don't get too wedded to exact copies of the arching. Something I find important is to shape
the top arch around the F holes in conjunction with cutting the F holes. That way I can get all the
details worked out adequately. I use a bunch of different checks on graduation (thicknessing) of
the final plates. I like to keep the weight down.
I'm interested in the Brescian work. I'll probably do some Brescian style instruments eventually.
I work a good deal on the acoustics of the instrument once it is set up as well. I'll work with
scrapers on metal rods, small burnishers and so on to get the instrument the way I want it.
Finishing
I’m constantly working on my finishes. Finishing lots of commercial violins has greatly helped me.
With our production work, I used to finish more violins in a year than some makers do in a lifetime.
I’m gradually evolving my own soft, supple varnish that dries quickly but remains wonderfully
flexible.
I color my violins by mulling pigments in linseed oil, mixing with oil varnish, and brushing on. The
varnish I'm using at the moment is mastic, tung oil, and turpentine. I only use the highest quality
pigment I can find.
Time & Preferences
I'm torn between doing everything else a busy shop needs and making violins. I also have mixed
feelings about commissions and have stopped taking them. I'm making what I like and letting the
instrument find someone it likes.
|
Example:
2004 Stradivari Pattern
|
| |
Gianna Violins Maker and seller violin, viola, fiddle, violin case, violin bow, accessories, support, appraisal, restoration, Eastman
mandolins & guitars.
By viewing you agree to these policies.
Entire contents Copyright © 2005 Gianna Violins
Gianna Violins™ is a protected trademark used by Gianna Violins in interstate commerce. Publisher does not accept liability for incorrect
spelling, printing errors (including prices), incorrect manufacturer's specifications or changes, or grammatical inaccuracies in any product or
technical information on Gianna Violins’ website, in email communications from Gianna Violins, or in telephone communications. Prices
and specifications subject to change without notice.
|
|
