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Set Gabarits Violoncelle Stradivarius Davidov 1712
Ref: 16093
Últimas unidades
Set Gabarits Violoncelle Stradivarius Davidov 1712 Ce set est conçu pour faciliter le traçage du modèle de violoncelle Stradivarius “Davidov” 1712 , l’un des instruments les plus célèbres du maître de Crémone. Les gabarits permettent de reproduire précisément le contour, les voûtes, les pointes, le manche et les ouïes.
Fabriqués en acrylique transparent rigide de 2 mm , MDF de 3 mm et styrène flexible de 1 mm , ces éléments assurent une excellente stabilité en atelier. Ce kit de base ne comprend pas le moule interne .
Le set comprend :
1 Gabarit externe – acrylique 2 mm – rigide
1 Gabarit interne – acrylique 2 mm – rigide
8 Gabarits de voûte – MDF 3 mm – rigide
2 Gabarits de pointe – MDF 3 mm – rigide
1 Gabarit de manche – acrylique 2 mm – flexible
1 Gabarit d’ouïe – styrène 1 mm – flexible
Nous proposons également des gabarits pour d’autres violoncelles historiques. Pour en connaître la disponibilité, contacte notre équipe à comercial1@maderas-barber.com . Modèles disponibles:
Stradivarius “Davidov” – 1712
Montagnana “Sleeping Beauty” – vers 1749
Guarneri “Piatti” – 1710
Amati – vers 1620
*Les photographies sont présentées à titre d'illustration uniquement. Le set que vous recevrez est spécialement conçu pour le modèle Stradivarius Davidov 1712.
Caractéristiques Techniques
Instrument : VioloncelleModèle : Stradivarius “Davidov” 1712Matériau : Acrylique transparent, MDF et styrèneÉpaisseur : 1 mm / 2 mm / 3 mmMoule inclus : Non
Référence
16093
En stock
2 Produits
Fiche technique
Type d'Outil: GabaritType de Travail: Facture Instrumentale
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<h2>Description Générale du Porte-mines de précision Graphgear 500 :</h2>\n
<p>Le <strong>porte-mines de précision Graphgear 500 est un outil pour dessiner et écrire avec précision</strong>. Son design à pointe longue de 4 mm est <strong>parfait pour les luthiers qui, comme vous, ont besoin de travailler avec des règles et des gabarits</strong>.</p>\n
<p>Le grip en maille métallique sur un corps fin et biseauté <strong>vous offre un excellent contrôle du porte-mines</strong> et un grand confort d'utilisation. De plus, son poids dans le bout des doigts vous facilitera le <strong>travail de précision sur les dessins et les gabarits.</strong></p>\n
<p>Le Graphgear 500 est <strong>préchargé avec la mine Pentel Super Hi-Polymer 0,5 mm HB,</strong> qui est résistante et n'a pas besoin d'être taillée, produisant un trait net et sombre.</p>
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<ul>\n
<li><strong> Dimension : </strong> A-2 (<span>420 x 594mm <span> ) </span></span></li>\n
<li><strong> Échelle : </strong> 1:1</li>\n
<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
<li><span> <strong> Quantité : </strong> 4 Feuilles <span> </span></span></li>\n
<li><strong> Feuille 1 : </strong> Design de chevalet, Tête, rosace, Talon</li>\n
<li><strong> Feuille 2 : </strong> Design de table intérieure et barres d'éventail </li>\n
<li><strong> Feuille 3 : </strong> Design de 2 tables intérieures et barres d'éventail </li>\n
<li><strong> Feuille 4 : </strong> Touche, manche, section caisse de résonance </li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> Description : </strong> </strong> </strong> Manuel Hernández et Victoriano Aguado comptent parmi les partenaires guitaristes les plus prospères du XXe siècle. Ils travaillaient à Madrid, où ils ont développé leurs propres modèles de guitares, qui se sont avérés extrêmement populaires auprès des musiciens. Certains musiciens aiment leurs guitares précisément parce qu'elles semblent manquer de personnalité, ce qui permet au musicien de mettre plus facilement sa propre personnalité dans la musique (contrairement, par exemple, à une Fleta, qui semble parfois sonner "comme une Fleta", quel que soit le musicien qui en joue). Ces facteurs ont utilisé différentes conceptions dans la disposition des barres harmoniques, et les plans présentés ici comprennent deux designs différents : le premier utilise cinq barres de vent et deux barres d'arrêt ; le second utilise six barres de vent, deux barres d'arrêt et une longue barre diagonale à travers la partie soprano de la caisse de résonance, afin d'augmenter le volume et la clarté.</li>\n
</ul>
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<h2><strong>Set Gabarits et Moule Violoncelle Stradivarius Davidov 1712</strong></h2>\n
<p>Ce set est conçu pour faciliter le traçage du modèle de violoncelle <strong>Stradivarius “Davidov” 1712</strong>, l’un des plus célèbres instruments du maître de Crémone. Il comprend tous les gabarits nécessaires pour reproduire avec précision les contours, voûtes, pointes, ouïes et manche, ainsi que le <strong>moule interne</strong>.</p>\n
<p>Les pièces sont réalisées en <strong>acrylique transparent rigide de 2 mm</strong>, <strong>MDF de 3 mm et 12 mm</strong> et <strong>styrène flexible de 1 mm</strong>, des matériaux fiables et durables pour un usage intensif en atelier.</p>\n
<p><strong>Le set comprend :</strong></p>\n
<ul>\n
<li>1 Moule interne – MDF 12 mm – rigide</li>\n
<li>1 Gabarit externe – acrylique 2 mm – rigide</li>\n
<li>1 Gabarit interne – acrylique 2 mm – rigide</li>\n
<li>8 Gabarits de voûte – MDF 3 mm – rigide</li>\n
<li>2 Gabarits de pointe – MDF 3 mm – rigide</li>\n
<li>1 Gabarit de manche – acrylique 2 mm – flexible</li>\n
<li>1 Gabarit d’ouïe – styrène 1 mm – flexible</li>\n
<li>2 Tiges – acier</li>\n
</ul>\n
<p>Nous proposons également des gabarits et moules pour d’autres modèles historiques de violoncelle. Pour connaître la disponibilité, contacte notre équipe à <a href="mailto:comercial1@maderas-barber.com">comercial1@maderas-barber.com</a>. Modèles disponibles :</p>\n
<ul>\n
<li>Stradivarius “Davidov” – 1712</li>\n
<li>Montagnana “Sleeping Beauty” – vers 1749</li>\n
<li>Guarneri “Piatti” – 1710</li>\n
<li>Amati – vers 1620</li>\n
</ul>\n
<p>*Les photographies sont présentées à titre d'illustration uniquement. Le set que vous recevrez est spécialement conçu pour le modèle Stradivarius Davidov 1712.</p>\n
<h2><strong>Caractéristiques Techniques</strong></h2>\n
<ul>\n
<li><strong>Instrument</strong> : Violoncelle</li>\n
<li><strong>Modèle</strong> : Stradivarius “Davidov” 1712</li>\n
<li><strong>Matériau</strong> : Acrylique transparent, MDF et styrène</li>\n
<li><strong>Moule</strong> : modèle “Davidov”</li>\n
<li><strong>Tiges</strong> : Acier</li>\n
</ul>
"""
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<h2><strong>Gabarits et Moule Violon Guarneri Cannone 1743</strong></h2>\n
<p>Ce set est conçu pour t’offrir une base de travail précise et durable. Il comprend tous les gabarits nécessaires pour tracer l’instrument complet : contours externes et internes, voûtes, pointes, ouïes et manche. Les pièces sont découpées dans de l’<strong>acrylique transparent rigide de 2 mm</strong>, du <strong>MDF de 3 mm et 12 mm</strong> et du <strong>styrène flexible de 1 mm</strong>, des matériaux stables et adaptés à une utilisation régulière à l’atelier. Le tout est complété par <strong>des tiges en acier</strong> pour le moule interne, garantissant rigidité et <strong>cohérence du traçage</strong>.</p>\n
<p><strong>Le kit comprend :</strong></p>\n
<ul>\n
<li>1 Moule interne – MDF 12 mm – rigide</li>\n
<li>1 Gabarit externe – acrylique 2 mm – rigide</li>\n
<li>1 Gabarit interne – acrylique 2 mm – rigide</li>\n
<li>8 Gabarits de voûte – MDF 3 mm – rigide</li>\n
<li>2 Gabarits de pointe – MDF 3 mm – rigide</li>\n
<li>1 Gabarit de manche – acrylique 2 mm – flexible</li>\n
<li>1 Gabarit d’ouïe – styrène 1 mm – flexible</li>\n
<li>2 Tiges – acier</li>\n
</ul>\n
<p>Ce set est basé sur le modèle <strong>Guarneri del Gesù “Il Cannone” 1743</strong>, rendu célèbre par Niccolò Paganini. Il se distingue par une caisse légèrement plus courte et plus profonde, ainsi qu’un manche nettement courbé — des éléments qui participent à sa puissance sonore et à sa grande résonance.</p>\n
<p>Nous proposons également des gabarits pour d’autres violons historiques. Pour connaître la disponibilité, contacte notre équipe à l’adresse suivante : <a href="mailto:comercial1@maderas-barber.com"><strong>comercial1@maderas-barber.com</strong></a>. Modèles disponibles :</p>\n
<ul>\n
<li>Giovanni Paolo Maggini – Violon 1630</li>\n
<li>Carlo Giuseppe Testore – Violon 1703</li>\n
<li>Pietro Guarneri de Mantoue – Violon 1704</li>\n
<li>Antonio Stradivari – Violon 1709 “Viotti”</li>\n
<li>Antonio Stradivari – Violon 1727 “Benvenuti”</li>\n
<li>Antonio Stradivari – Violon 1734 “Willemotte”</li>\n
<li>Carlo Bergonzi – Violon 1735 “Baron Knoop”</li>\n
<li>Guarneri del Gesù – Violon 1735 “Plowden”</li>\n
<li>Guarneri del Gesù – Violon 1741 “Vieuxtemps”</li>\n
<li>Guarneri del Gesù – Violon 1741 “Kochánski”</li>\n
<li>Guarneri del Gesù – Violon 1745 “Leduc”</li>\n
<li>Giovanni Battista Guadagnini – Violon 1774 “Salabue”, “Berta”</li>\n
</ul>\n
<p>* Les photographies sont présentées à titre d'illustration uniquement. L'ensemble que vous recevrez est spécialement conçu pour le modèle Guarneri Cannone 1743.</p>\n
<h2><strong>Caractéristiques Techniques</strong></h2>\n
<ul>\n
<li><strong>Instrument</strong> : Violon</li>\n
<li><strong>Modèle</strong> : Guarneri del Gesù “Il Cannone” 1743</li>\n
<li><strong>Matériau</strong> : Acrylique transparent, MDF et styrène</li>\n
<li><strong>Moule</strong> : modèle “Cannone”</li>\n
<li><strong>Tiges</strong> : Acier</li>\n
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<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
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<li><strong> <strong> <strong> <strong> Description : </strong> </strong> </strong> </strong> Construisez une guitare classique à 10 cordes : La guitare à 10 cordes a été développée dans les années 1960 par Narciso Yepes, qui a travaillé avec le luthier José Ramírez pour produire un modèle très réussi. En 1963, Narciso Yepes a interprété le Concierto de Aranjuez avec l'orchestre philharmonique de Berlin, en utilisant la guitare à 10 cordes qu'il avait inventée en collaboration avec José Ramírez III, avec un accord conçu pour fournir une résonance à l'unisson avec n'importe quelle note jouée sur les cordes aiguës. Ce cliché montre en détail le style de Yepes et de sa guitare à dix cordes. À partir de 1963 et tout au long de sa vie, Yepes n'a utilisé que la guitare à dix cordes pour ses enregistrements et ses concerts. La disponibilité de guitares classiques à dix cordes de haute qualité de la Compagnie Ramirez a permis et a encouragé d'autres artistes à étudier l'instrument. La musique de la guitare à six cordes peut être jouée sur les six premières cordes, mais avec une résonance supplémentaire grâce aux cordes supplémentaires qu'elle possède. C'était l'intention initiale de Yepes et la raison de cette conception. La musique spécialement arrangée pour cet instrument peut utiliser directement les cordes supplémentaires, ce qui permet de transcrire plus fidèlement la musique écrite à l'origine pour des instruments à plus de six cordes. La musique écrite par Bach et ses contemporains pour le luth est particulièrement intéressante à cet égard. \n
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<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
<li><span> <strong> Quantité : </strong> 3 Feuilles <span> </span></span></li>\n
<li><strong> Feuille 1 : </strong> Design de chevalet, Tête, rosace, Talon</li>\n
<li><strong> Feuille 2 : </strong> Design de table intérieure et barres d'éventail </li>\n
<li><strong> Feuille 3 : </strong> Design Touche, manche et section caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> Description : </strong> </strong> <span>Manuel Ramírez est né à Alhama en 1864. Son frère aîné, José, lui a appris à fabriquer des guitares et, à l'âge de 27 ans, en 1891, il s'est installé à son compte. Manuel est devenu l'un des fabricants de guitares les plus réputés de son époque, remportant des médailles lors de plusieurs expositions pour l'excellente qualité de ses guitares. En plus des guitares classiques espagnoles, il produisait également des instruments à onze cordes. Segovia était très impressionné par les guitares de Ramírez et en a joué à plusieurs reprises. Les guitares de Ramírez sont influencées par Hermann Hauser et les plans de Ramírez fournis ici permettent de construire une guitare de concert standard puissante. <span> </span></span></li>\n
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<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
<li><span> <strong> Quantité : </strong> 3 Feuilles <span> </span></span></li>\n
<li><strong> Feuille 1 : </strong> Design de chevalet, Tête, rosace, Talon</li>\n
<li><strong> Feuille 2 : </strong> Design de table intérieure et barres d'éventail </li>\n
<li><strong> Feuille 3 : </strong> Design Touche, manche et section caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> Description : </strong> </strong> </strong> Daniel Friederich est le luthier français le plus célèbre des trois ou quatre dernières décennies : il a suivi la tradition des luthiers français initiée par Robert Bouchet. Les guitares Friederich sont aujourd'hui jouées dans le monde entier par les meilleurs guitaristes professionnels. La qualité de fabrication de Friederich est superbe, et chaque instrument est un chef-d'œuvre de sonorité et de savoir-faire. Il a développé plusieurs designs innovants dans la disposition des barres de tonalité, dont certains incluent une "barre de chevalet", une idée également utilisée par Robert Bouchet. Mais dans le cas de Friederich, il a affiné les dimensions des barres harmoniques et l'épaisseur des têtes pour obtenir des résultats cohérents. Friederich teste également avec soin la qualité de tous les bois qu'il utilise, afin de déterminer avec précision la résistance ou la flexibilité d'une pièce donnée. Cela l'aide à déterminer les dimensions optimales de ce composant. Le plan proposé ici est l'un de ses modèles les plus réussis et permet aux luthiers les plus avancés d'étudier le design sophistiqué de l'un des meilleurs maîtres de la guitare de ces derniers temps.\n
<p><span> <span> </span></span></p>\n
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<li><span> <strong> Quantité : </strong> 3 Feuilles <span> </span></span></li>\n
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<li><strong> Feuille 2 : </strong> Design de table intérieure et barres d'éventail </li>\n
<li><strong> Feuille 3 : </strong> Design Touche, manche et section caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> <strong> Description : </strong> </strong> </strong> </strong> Torres est connu comme le fondateur de la guitare classique espagnole moderne, et de nombreux luthiers expérimentés continuent de fabriquer leurs guitares selon les plans établis par Torres en 1860. Après avoir fabriqué une guitare selon les dimensions plus larges du plan numéro 2 de Torres, de nombreux luthiers trouvent intéressant de construire une petite guitare, souvent connue sous le nom de guitare Parlor ou Requinto, qui contraste avec une guitare de taille normale. Il s'agit d'une conception intéressante à suivre : la petite guitare a un son étonnamment vibrant et pénétrant, surtout dans les aigus. Le volume d'air plus faible contenu dans la table d'harmonie signifie que les basses sont moins amples, mais tant que l'instrument est bien équilibré, le résultat est généralement très agréable.</li>\n
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<li><strong> Feuille 3 : </strong> DesignTouche, manche et section caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> Description : </strong> </strong> </strong> Marcelo Barbero fut l'un des principaux fabricants de guitares flamenco, élève de José Ramírez II. Après la mort de Santos Hernández, Barbero a travaillé pour la veuve de ce dernier, Mathilda Ruiz, afin d'achever les commandes déjà passées. Cette expérience lui a donné un aperçu unique des outils et des méthodes de travail du grand Santos Hernández, ce qui a peut-être partiellement influencé Barbero, dont les guitares flamencas sont aujourd'hui encore considérées comme parmi les plus belles jamais fabriquées. Le plan présenté ici tient sur trois feuilles de papier de format A2 et fournit toutes les mesures avec des dessins en taille réelle à partir desquels une réplique proche peut être faite. Idéal pour ceux qui souhaitent construire une guitare flamenca, peut-être avec l'autre grand fabricant de flamenco, Santos Hernandez, dont les plans de guitare sont également disponibles ici.</li>\n
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<li><strong> Feuille 2: </strong> Designde table interior y barres d'éventail </li>\n
<li><strong> Feuille 3: </strong> DesignTouche, manche y sección caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> <strong> <strong> Description : </strong> </strong> </strong> </strong> </strong> A Torres se le conoce como el fundador de la guitarra clásica española moderna, y muchos luthiers experimentados aún siguen fabricando sus guitarras siguiendo de cerca los diseños establecidos por el en 1850. Este plano también es muy adecuado para alguien que hace su primera guitarra, porque introduce al nuevo fabricante en el Designbásico del cual surgieron casi todas las innovaciones posteriores.\n
<p><span> <span> </span></span></p>\n
<p><span>Antes de Torres, la mayoría de las guitarras eran bastante pequeñas, y no se había pensado mucho en el mejor método para reforzar la parte superior. Torres estableció un nuevo patrón de las barras armónicas de siete barras de viento y dos barras de cierre, que dieron a sus cajas de resonancia, el soporte que necesitaban, al mismo tiempo que permitieron que la madera vibrase lo suficiente como para producir un sonido equilibrado. <span> </span></span></p>\n
<p><span> <span> </span></span></p>\n
<p><span>También estableció una guitarra de forma elegante que, aunque es más pequeña que algunas guitarras de concierto modernas, es muy hermosa de ver. Es un punto de partida ideal para el fabricante de guitarras moderno. <span> </span></span></p>\n
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<li><strong> Dimension : </strong> A-2 (<span>420 x 594mm <span> ) </span></span></li>\n
<li><strong> Échelle : </strong> 1:1</li>\n
<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
<li><span> <strong> Quantité : </strong> 4 Feuilles <span> </span></span></li>\n
<li><strong> Feuille 1 : </strong> Design de chevalet, Tête, rosace, Talon</li>\n
<li><strong> Feuille 2 : </strong> Design de table intérieure et barres d'éventail </li>\n
<li><strong> Feuille 3 : </strong> Design de 2 tables intérieures et barres d'éventail</li>\n
<li><strong> Feuille 4 : </strong> Design Touche, manche et section caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> Description : </strong> </strong> </strong> Les guitares à double bouche ont été fabriquées au début du XXe siècle, principalement par le luthier espagnol Francisco Simplicio, né à Barcelone en 1874. Simplicio utilisait une variante de la barre d'harmonie traditionnelle. Les fabricants contemporains ont expérimenté différentes conceptions de barres d'harmonie dans le cadre des paramètres de la table d'harmonie élargie, obtenue en déplaçant les ouvertures vers la partie supérieure de la guitare. La conception traditionnelle de la barre de son de Lattice présentée ici donne à la guitare un volume, une projection et un sustain exceptionnels. Les plans illustrés ici montrent à la fois un double design semi-circulaire et un design double bouche de son circulaire</li>\n
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<h2><strong>Set Gabarits Violoncelle Stradivarius Davidov 1712</strong></h2>\n
<p>Ce set est conçu pour faciliter le traçage du modèle de violoncelle <strong>Stradivarius “Davidov” 1712</strong>, l’un des instruments les plus célèbres du maître de Crémone. Les gabarits permettent de reproduire précisément le contour, les voûtes, les pointes, le manche et les ouïes.</p>\n
<p>Fabriqués en <strong>acrylique transparent rigide de 2 mm</strong>, <strong>MDF de 3 mm</strong> et <strong>styrène flexible de 1 mm</strong>, ces éléments assurent une excellente stabilité en atelier. Ce kit de base <strong>ne comprend pas le moule interne</strong>.</p>\n
<p><strong>Le set comprend :</strong></p>\n
<ul>\n
<li>1 Gabarit externe – acrylique 2 mm – rigide</li>\n
<li>1 Gabarit interne – acrylique 2 mm – rigide</li>\n
<li>8 Gabarits de voûte – MDF 3 mm – rigide</li>\n
<li>2 Gabarits de pointe – MDF 3 mm – rigide</li>\n
<li>1 Gabarit de manche – acrylique 2 mm – flexible</li>\n
<li>1 Gabarit d’ouïe – styrène 1 mm – flexible</li>\n
</ul>\n
<p>Nous proposons également des gabarits pour d’autres violoncelles historiques. Pour en connaître la disponibilité, contacte notre équipe à <a href="mailto:comercial1@maderas-barber.com">comercial1@maderas-barber.com</a>. Modèles disponibles:</p>\n
<ul>\n
<li>Stradivarius “Davidov” – 1712</li>\n
<li>Montagnana “Sleeping Beauty” – vers 1749</li>\n
<li>Guarneri “Piatti” – 1710</li>\n
<li>Amati – vers 1620</li>\n
</ul>\n
<p>*Les photographies sont présentées à titre d'illustration uniquement. Le set que vous recevrez est spécialement conçu pour le modèle Stradivarius Davidov 1712.</p>\n
<h2><strong>Caractéristiques Techniques</strong></h2>\n
<ul>\n
<li><strong>Instrument</strong> : Violoncelle</li>\n
<li><strong>Modèle</strong> : Stradivarius “Davidov” 1712</li>\n
<li><strong>Matériau</strong> : Acrylique transparent, MDF et styrène</li>\n
<li><strong>Épaisseur</strong> : 1 mm / 2 mm / 3 mm</li>\n
<li><strong>Moule inclus</strong> : Non</li>\n
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<p class="product_name"><strong>Set Gabarits Violoncelle Stradivarius Davidov 1712</strong></p>\n
<h2><strong>Set Gabarits Violoncelle Stradivarius Davidov 1712</strong></h2>\n
<p>Ce set est conçu pour faciliter le traçage du modèle de violoncelle <strong>Stradivarius “Davidov” 1712</strong>, l’un des instruments les plus célèbres du maître de Crémone. Les gabarits permettent de reproduire précisément le contour, les voûtes, les pointes, le manche et les ouïes.</p>\n
<p>Fabriqués en <strong>acrylique transparent rigide de 2 mm</strong>, <strong>MDF de 3 mm</strong> et <strong>styrène flexible de 1 mm</strong>, ces éléments assurent une excellente stabilité en atelier. Ce kit de base <strong>ne comprend pas le moule interne</strong>.</p>\n
<p><strong>Le set comprend :</strong></p>\n
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<li>1 Gabarit externe – acrylique 2 mm – rigide</li>\n
<li>1 Gabarit interne – acrylique 2 mm – rigide</li>\n
<li>8 Gabarits de voûte – MDF 3 mm – rigide</li>\n
<li>2 Gabarits de pointe – MDF 3 mm – rigide</li>\n
<li>1 Gabarit de manche – acrylique 2 mm – flexible</li>\n
<li>1 Gabarit d’ouïe – styrène 1 mm – flexible</li>\n
</ul>\n
<p>Nous proposons également des gabarits pour d’autres violoncelles historiques. Pour en connaître la disponibilité, contacte notre équipe à <a href="mailto:comercial1@maderas-barber.com">comercial1@maderas-barber.com</a>. Modèles disponibles:</p>\n
<ul>\n
<li>Stradivarius “Davidov” – 1712</li>\n
<li>Montagnana “Sleeping Beauty” – vers 1749</li>\n
<li>Guarneri “Piatti” – 1710</li>\n
<li>Amati – vers 1620</li>\n
</ul>\n
<p>*Les photographies sont présentées à titre d'illustration uniquement. Le set que vous recevrez est spécialement conçu pour le modèle Stradivarius Davidov 1712.</p>\n
<h2><strong>Caractéristiques Techniques</strong></h2>\n
<ul>\n
<li><strong>Instrument</strong> : Violoncelle</li>\n
<li><strong>Modèle</strong> : Stradivarius “Davidov” 1712</li>\n
<li><strong>Matériau</strong> : Acrylique transparent, MDF et styrène</li>\n
<li><strong>Épaisseur</strong> : 1 mm / 2 mm / 3 mm</li>\n
<li><strong>Moule inclus</strong> : Non</li>\n
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<li><strong> Échelle : </strong> 1:1</li>\n
<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
<li><span> <strong> Quantité : </strong> 3 Feuilles <span> </span></span></li>\n
<li><strong> Feuille 1 : </strong> Design de chevalet, Tête, rosace, Talon</li>\n
<li><strong> Feuille 2 : </strong> Designde table interior y barres d'éventail </li>\n
<li><strong> Feuille 3 : </strong> DesignTouche, manche y sección caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> Description : </strong> </strong> </strong> Le nom d'Hermann Hauser est légendaire dans l'histoire de la fabrication de guitares. Avec Torres, Hauser a contribué à définir les caractéristiques de la guitare classique espagnole moderne. Julián Bream et Andre Segovia ont tous deux joué sur des guitares Hauser pendant de nombreuses années. Hauser a d'abord rencontré Segovia lors d'un concert où Segovia lui a expliqué les caractéristiques de la guitare idéale qu'il recherchait. Il lui a montré une Santos Hernandez, qui a servi de point de départ au travail de Hauser. C'est environ douze ans plus tard que Hauser montra à Segovia une guitare qu'il essaya ; en fait, il fut enchanté et fit plus tard référence à cette guitare Hauser comme étant "la meilleure guitare de notre temps". La conception est essentiellement similaire à celle de Torres, mais un peu plus raffinée. De nombreux fabricants modernes utilisent ce modèle comme base de leur travail, et les "copies Hauser" sont extrêmement populaires.</li>\n
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<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
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<li><strong> Feuille 2: </strong> Design de table intérieure et barres d'éventail </li>\n
<li><strong> Feuille 3 : </strong> Design Touche, manche et section caisse de résonance</li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> Description : </strong> </strong> </strong> Les guitares fabriquées par Ignacio Fleta sont réputées pour leur grande puissance, ce qui les rend idéales pour les salles de concert. Fleta a fabriqué sa première guitare en 1930, après avoir construit de nombreux violons et violoncelles. Après avoir entendu Andre Segovia jouer en 1955, Fleta a été inspiré par la détermination de fabriquer de bonnes guitares, et a fabriqué une guitare pour Segovia, qui a été jouée par le maestro dans le monde entier. Le fond de violon de Fleta est visible dans sa méthode de fabrication de la guitare : il préférait d'abord terminer la caisse de résonance ou le corps de l'instrument, puis assembler le manche, de la même manière que les violons sont assemblés. Le plan présenté ici illustre la méthode de Fleta, mais il est possible de suivre sa conception dans tous les aspects, à l'exception de l'assemblage du manche, qui peut être effectué de manière traditionnelle à l'espagnole. Un aspect intéressant de la conception de Fleta est son modèle de placement des barres harmoniques. Il utilise neuf barres de vent et une barre harmonique inclinée qui contribue à augmenter le volume et la clarté des notes soprano.</li>\n
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<li><strong> Dimensions du plan : </strong> En Millimètres.</li>\n
<li><span> <strong> Quantité : </strong> 4 Feuilles <span> </span></span></li>\n
<li><strong> Feuille 1 : </strong> Design de chevalet, Tête, rosace, Talon</li>\n
<li><strong> Feuille 2 : </strong> Design de table intérieure barres d'éventail </li>\n
<li><strong> Feuille 3 : </strong> Design de 2 de tables intérieures et barres d'éventail </li>\n
<li><strong> Feuille 4 : </strong> Touche, manche, section caisse de résonance </li>\n
<li><span> <strong> Conçu par : </strong> Roy Courtnall <span> </span></span></li>\n
<li><strong> <strong> <strong> <strong> Description : </strong> </strong> </strong> </strong> José Romanillos tiene una merecida reputación como el mejor fabricante de guitarras que ha trabajado en el Reino Unido en los últimos años. Desde la década de 1970, cuando colaboró estrechamente con el guitarrista Julian Bream, las guitarras de Romanillos comenzÉclissen a ser apreciadas en todo el mundo. No solo comenzó a hacer guitarras con magníficas cualidades tonales, sino que su habilidad suprema no tenía rival. Su Designde roseta increíblemente hermoso resulta de particular interés, y hoy en día es copiado por muchos fabricantes nuevos (vea la Galería de imágenes). Basó su trabajo en guitarras anteriores de Torres y Hauser, pero luego introdujo sus propias innovaciones en el diseño, logrando finalmente lo que describe como "el verdadero sonido español\n
<p><span> <span> </span></span></p>\n
<p><span>José Romanillos ha desarrollado varios diseños de barras armónicas innovadores, pero siempre basados en los principios de Torres. Para el fabricante de guitarras que ha construido unas pocas guitarras basadas en el plano de Torres, se le sugiere que utilice el plano de Romanillos para avanzar de manera ideal, ya que ofrece un desafío mayor debido a su complejidad de diseño. De hecho, el plano ofrece dos diseños de barras armónicas diferentes que Romanillos ha utilizado a lo largo de los años, lo que permite al fabricante de guitarras estudiar de cerca el trabajo del mejor fabricante de guitarras con base en Gran Bretaña del siglo XX. <span> </span></span></p>\n
</li>\n
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