Carbon Fiber Violin Project

Note: This was written some time ago, but is still worth reading if you're interested. There is now a website (pre-launch) which you may view with actual photos, etc. Go to http://www.elixirviolins.com

Again, feel free to email me with comments, questions, etc.! Send email to robert@robertedney.com

Carbon Fiber / Epoxy Resin Composite Violin Project

If you would like to keep up with the progress of the project, make suggestions, see photos and hear sound samples as things progress, please email me at robert@robertedney.com. You don't have to be the least bit interested in buying a carbon fiber violin -- in fact, critics are wanted and welcomed. Once we've established a core group we'll set up a ring to ship a prototype from one person to the next to examine, play and critique. Some sort of healthy discount will be available for anyone who participates and wants to buy once the initial model is finalized.

Objective: Quality instrument with good dynamic range and pleasing voice. Highly durable, attractive and very playable.

Production: Traditional maker’s setting – hand work, assembly, set-up etc. Made one at a time. Allow for new ideas and evolution of design.

Price Point: Just one "model" initially, a high quality student/second instrument, sold directly via web with approval period. Price to be determined, but tons less than $5000. Affordability is the objective.

Introduction

The only CF violin widely available on the market today is made by Luis and Clark and – at the time of this writing – sells for something in excess of $5,000.00. I have not seen nor played one of these instruments, although I very nearly bought one (on approval) recently. Upon deciding to make an instrument instead I chose to actually avoid the Luis and Clarke offering. I want to eliminate all thought that I am somehow copying it. It seems to me that $5000.00 plus for a CF instrument misses the market. With the mass influx of Chinese made copies a very decent instrument for the student and recreational player – chosen with caution and care – can be found for a lot less money. Although the Luis and Clark offering may be of higher quality and is unquestionably far more durable, one can buy a few of the decent Chinese wooden instruments for the same price. Secondly, as nearly as I can tell, the Luis and Clarke instruments are actually made by a carbon fiber specialist company but marketed and sold by Luis Leguia, a professional cellist and the designer/inventor. His cellos – at something close to the same $5000 – are reportedly excellent and are clearly a very good buy. Mr. Leguia incurs all the associated costs of a manufacturing facility plus whatever profit that facility adds on prior to delivering the instruments to him. My objective – on the other hand -- is to make instruments myself (with perhaps a couple of employees) in a small non-retail space shop and sell them right out of the shop and over the internet (with an approval period). My overhead in doing so in therefore less, as is my investment in machinery, tooling, etc. My hope is that this will allow for a price point that invites many more musicians to take advantage of the benefits of carbon fiber, particularly as very durable student instruments and as a second instrument to use when the good wooden violin might be in jeopardy. Although my production will clearly be limited in quantity, that's the way I prefer to work.

If you have an immediate interest in a carbon fiber violin, viola, cello or bass I highly suggest that you visit the Luis and Clark website.

First prototype:

Note: CF = carbon fiber / epoxy composite. (See "Primer" at bottome of page)

Initial Fabrication:

Fiberglass mold taken from modified and assembled back plate, sides and neck of existing, partly finished traditional wood Guarneri copy. The copy modified so as to produce a “guitar-shaped” design lacking the usual points between upper, mid and lower bouts.
Carbon fiber / epoxy lay-up taken from mold, vacuum bagged (see "Primer", below). Trimmed and finished to produce one-piece back, sides and neck.
Separate mold for fingerboard, leading to finished CF fingerboard.
Separate mold for top plate, male/female halves.
Top plate taken from molds – not vacuum bagged but under closed mold pressure, variable to explore impact of thickness, epoxy/carbon fiber cloth ratio/compaction, etc.
First assembly of first prototype, no graduation of top or back plate.
Assemble instrument with a removable adhesive (perhaps black silicone) to allow experimental disassembly.
Traditional sound post (wood), bass bar (CF) and bridge (wood) to start.

First Round Objectives:

To determine strength of the composite. In other words, how thin can the top and back plates be fabricated while allowing for the inherent stresses in the instrument and long term durability.
For the first prototype, volume is key. The theory here is that the thinner the plates the more amplitude will be produced. A greater range of amplitude allowing for more nuanced playing. Volume can always be reduced if necessary.
Because the design will allow it, experiment with leaving the neck hollow (increasing volume of sound chamber and complexity of activity within the chamber).
Assess voice of instrument and go from there.

Voicing:

Vary thickness of plates.
Possibility of varying weave pattern and cloth weight of carbon fiber material.
Possibility of internal additions to impact stiffness in various areas.
Possibility of removing material post molding (traditional method of graduating).
Possibility of interior baffles.
Possibility of added internal material with different acoustical properties than CF.

Primer:

Carbon fiber instruments are unlikely to replace fine wooden violins, and I for one would not want them to. However, the potential for a CF instrument to augment a player’s flexibility is clear. Additionally, the need for a very durable yet high quality violin for the use of serious students is obvious. It is unlikely that a CF violin will make an appearance in any major orchestra anytime soon, if ever. Yet, there are a huge number of us who play for recreational purposes and would love the freedom of taking a high quality instrument nearly anywhere without fear. So, what is carbon fiber, and how is it used to make instruments?

Carbon fiber composite is made by saturating layers of woven carbon fiber cloth with epoxy resin. The material can by “laid-up” in various ways, using more or fewer layers of cloth, different weight or weave patterns, etc. In all cases the lay-up is cured under some sort of pressure, as excessive resin in the lay-up decreases the strength to weight ratio, and presumably the resonance of the finished product. Pressure may be applied by curing in a two piece mold, or by vacuum bagging. In both cases a layer of disposable, non-stick absorbent material is used to absorb excess resin. Vacuum bagging is the process whereby the uncured lay-up is completely covered by a sealed membrane (often plastic sheeting) and a vacuum pump is connected. By creating an internal vacuum, atmospheric pressure applies force very evenly over the lay-up. To illustrate how effective this is, a one square foot area is receiving 2,116.8 pounds of pressure with a 29.92" Hg vacuum beneath it. To read a more detailed description of carbon fiber, its origens, etc., see http://en.wikipedia.org/wiki/Carbon_fiber

Carbon fiber is a fascinating material to consider for violin making because it is incredibly strong while remaining resonant. It is also impervious to moisture and temperature swings. Various makers/companies have produced stringed instruments of carbon fiber composite with differing degrees of success. The academic community has also explored the acoustical properties of carbon fiber with positive results.

If a violin is made and assembled as outlined above, the exterior surfaces will mirror with near perfection the shape and finish of the mold. In other words, if the mold is a good one, the finished laminate will be equally well-shaped and smooth. This allows for ease in assembly (it all fits) and finishing. Although epoxy is an incredibly tough and well proven finish, it is impacted by UV. Therefore, a final finish with a UV filtering layer is necessary for maximum durability/longevity.

A well designed and crafted CF violin will prove to be a very durable instrument. Its pitch and voice will be unchanged by variations in temperature and humidity. In theory, it will be lighter than a wooden instrument and very possibly offer greater dynamic range. With some limitations that I'm sure are not yet apparent, it ought to be possible to shape the voice of the instrument and to consistently achieve that voice from one instrument to the next. Such an instrument would be ideal to travel with, as well as making a great “beach” violin while not sacrificing quality or playability. Further, with sufficient experimentation and development, it may be possible to produce and instrument that is of orchestral/solo quality at a reasonable price.