During his sixteen-year association with Bein & Fushi in Chicago, violin maker Michael Darnton had the opportunity to examine, photograph, and measure hundreds of Classical Period violins. He’s been a Guild member for a total of twenty-seven years, and is a past GAL columnist and convention speaker.
▪ bio current as of 2011
2011
AL#108 p.63
Michael Darnton
▪ This 3-book set covers a wide range of topics beyond what the title specifies, in over 142 articles.
2010
AL#103 p.69 read this article
Michael Darnton
▪ Restoring an old Carl Friedrich Pfretzschner 1773 violin.
2006
AL#87 p.26 read this article
Michael Darnton
▪ The author demonstrates that the design of classic instruments (of whatever type) is dictated by simple geometric forms, and that to ignore such shapes while designing new instruments is to invite ungainliness into your shop.With 9 photos and 7 drawings.
This article has been nominated as one of the Guild’s best articles published before 2010.
2004
AL#78 p.45 BRB7 p.199
Michael Darnton
▪ By making a topo map of the spherical arch you wish your top or back to be (in 1/32″ intervals in this example) one only has to lay an outline of the guitar on the map and chart the contour of the sides. So easy. So elegant. So how come it wasn’t more obvious? With one photo and one diagram.
This article has been nominated as one of the Guild’s best articles published before 2010.
2003
AL#76 p.38 BRB7 p.126
Michael Darnton
▪ Certainly no instrument maker has been as studied and thought about as Stradivari. Not only would modern makers like to be as successful as he was, but his methods were poorly recorded and have to be rediscovered by examining his instruments. It’s a puzzle, and luthiers are by nature patient puzzle solvers. So, was there a Cremonese formula for laying out f-holes? Darnton thinks so, and believes he may be onto the answer. With a photo and one drawing.
2002
AL#72 p.63 BRB6 p.374
Jeffrey R. Elliott R.E. Brune Stewart Pollens Byron Will Michael Darnton Frank Ford
▪ Thoughts from various folks representing different instruments and approaches on restoration label do’s and don’ts for severely damaged guitars.
2000
AL#64 p.56 BRB6 p.534 read this article
Michael Darnton
▪ Though the reviewer finds that this book shares a few of the same limitations as all other violin construction books, in the end “this is a great book (that) for the most part completely eclipses every previous violin making text.”
2000
AL#61 p.3
Michael Darnton
▪
1999
AL#57 p.56 BRB5 p.458
Michael Darnton
▪ Good violins often come with a certificate of authenticity, but what does that mean? What are the legal ramifications of a certificate, and who writes them? Are they trustworthy? How does one gain the necessary expertise to write certificates? Cool stuff, even if you could care less about fiddles.
1998
AL#56 p.62 BRB5 p.458
Michael Darnton
▪ Before you try to fix, buy, or sell a violin, you better know what you’re diving into. Darnton explains how to evaluate the condition of a fiddle and how to spot old repairs and perhaps even forgeries.
1998
AL#55 p.61 BRB5 p.458
Michael Darnton
▪ Repair ethics updated. Centuries from now some of those “cheap” fiddles won’t be cheap any more, and the quick and dirty repairs we do to keep them functional today may be considered butchery in the future. Is it time to reconsider our impact on the violin scenes to come?
1998
AL#54 p.52 BRB5 p.458
Michael Darnton
▪ Darnton dwells upon the value of violins (as opposed, at times, to their cost), and finds that customers drive the cost of violins even when they aren’t sure of the value. For non-fiddle people this may be the most interesting column he has written, and for violin folks it should prove quite enlightening.
1998
AL#53 p.60 BRB5 p.458
Michael Darnton
▪ Are there good alternative finishes for violins? What’s the best way to repair a nicked fiddle? Where is the best place to position the soundpost?
1997
AL#52 p.65 BRB5 p.137
Michael Darnton
▪ What finish Martin used before nitrocellulose lacquer and when they switched.
1997
AL#51 p.53
Michael Darnton
▪ Contrary to Darrelle Anne Le Maitre’s comments in AL#50, using a cushy washer under a strap button will actually increase the load and leverage on a screw and increase the chance of repeat failure.
1997
AL#52 p.56 BRB5 p.458
Michael Darnton
▪ The soundpost of a cello can push the hard grain of the spruce right through the varnish. So how does one fix the problem? Is your varnish not as clear as you’d like? Damn! What’s the best way to scale down a 4/4 violin to the smaller sizes? Darnton comes to the rescue again.
1997
AL#51 p.50 BRB5 p.458
Michael Darnton
▪ Straight talk about why slab-sawn wood is a poor choice for violin necks, boiling down an alcohol solution, getting a chin rest to stay on a fiddle, and making lake pigments.
1997
AL#50 p.56 BRB5 p.458
Michael Darnton
▪ This time the GAL’s fiddle guru talks about bridge shoes, fitting pegs, detecting a loose bass bar, streaky ebony, and “Russian” string setups.
1997
AL#49 p.60 BRB5 p.458
Michael Darnton
▪ The style and size of violins, like most everything else in noncommunist countries, is driven by the market place. Darnton responds to a query about which fiddle makers are best to copy, and how to arch the plates to please contemporary musicians.
1996
AL#48 p.54 BRB4 p.442
Michael Darnton
▪ Look out for buzzy nuts. Why might violins sound too dark? What fiddle books should be purchased? The book discussion is especially worthy and entertaining.
1996
AL#47 p.58 BRB4 p.442
Michael Darnton
▪ Darnton fields questions about slipping pegs and pricing repair work and estimates.
1996
AL#46 p.56 BRB4 p.442
Michael Darnton
▪ Darnton discusses the glues he keeps in his shop.Also, setting up the cello.
1996
AL#45 p.50 BRB4 p.442
Michael Darnton
▪ This time the column has but one concern, removing the top plate. With 7 photos.
1995
AL#44 p.54 BRB4 p.442
Michael Darnton
▪ What is neck pitch, and what does it do to/for the violin? How does one deal with an Elmer’s glue repair? Why is poplar sometimes used for the cello and viola? Darnton tells all.
1995
AL#43 p.52 BRB4 p.442
Michael Darnton
▪ What is Nussbaum? Is there such a thing as irreparable damage?
1995
AL#42 p.60 BRB4 p.442
Michael Darnton
▪ Why can’t I get the proper degree of polish from my varnish? How high should a saddle be? Why do my violins come apart during varnishing? What stylistic mistakes are most common? Why is oil varnish so nasty?
1995
AL#41 p.56 BRB4 p.442
Michael Darnton
▪ Why is there a step in the neck behind the nut of my fiddle? What angle are the junctions of the ribs cut to at the corners? What’s the difference between French and Belgian cello bridges? Zits in the varnish? Why does my French polish crackle?
1994
AL#39 p.58 BRB4 p.442
Michael Darnton
▪ Darnton tells what to look for if a certain string breaks consistently, and how to remove a firmly attached violin neck.
1994
AL#38 p.60 BRB4 p.442
Michael Darnton
▪
1994
AL#37 p.26 BRB3 p.352 read this article
Michael Darnton
▪ And you thought you knew all there was to know about making that fiddle play. Darnton continues his instruction from AL#35. This time he tunes and fits the bridge, strings, tailpiece, saddle, and end button. With 13 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1994
AL#37 p.54 BRB4 p.442
Michael Darnton
▪ Darnton reflects upon bass bar design and tap tone pitches for viola and cello.
1993
AL#36 p.58 BRB3 p.446
Michael Darnton
▪ Darnton discusses classical violin strings and a timesaving method of cutting the purfling slots.
1993
AL#35 p.52 BRB3 p.446
Michael Darnton
▪ What are the proper dimensions and shape of the neck? What is a “tight” fiddle? What is fingerboard tilt? What does a player mean when he says he “can’t reach” the D string? Darnton answers all.
1993
AL#34 p.54 BRB3 p.446
Michael Darnton
▪ What adjustments change the tone of a violin? Should new pegs be reshaped or should the pegbox holes be opened to fit them? Which glue for a top center seam? Are stains really useless?
1993
AL#35 p.6 BRB3 p.352 read this article
Michael Darnton
▪ To the uninitiated, violin setup seems to have way too many steps for the small number of moveable parts involved. Taken one step at a time, the mystery falls away. Darnton explains the tools and procedures he uses to get the most out of a violin. This segment includes fitting pegs, correcting problems with the nut, making a fingerboard, and fitting a soundpost. Part Two is printed in AL#37. With 30 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
1993
AL#33 p.52 BRB3 p.446
Michael Darnton
▪ What is a spiral bushing, and when do you use it? It’s a one-question column this time around.
1992
AL#32 p.44 BRB3 p.266 read this article
Michael Darnton
▪ Nothing is easy for fiddle people. When they aren’t tweaking and gluing wood they are stirring up a witch’s brew in their home chem labs. Darn if Darnton doesn’t sound like he likes it, though. Buy some fancy wood. Trick it into changing color.
This article has been nominated as one of the Guild’s best articles published before 2010.
1992
AL#32 p.64 BRB3 p.446
Michael Darnton
▪ What should one expect from a purchased ebony fingerboard? Should a fiddle bridge lean back, and how far? Can you offer hints about using hide glue? Darnton’s wide experience rescues another page of readers.
1992
AL#31 p.64 BRB3 p.446
Michael Darnton
▪ Why don’t the ribs of a broken fiddle fit the top any more? How much spring should be built into a bass bar? Why is there a step in the neck behind the nut on my fiddle. Darnton knows, now you will, too.
1992
AL#30 p.54 BRB3 p.446
Michael Darnton
▪ Darnton examines the use of various woods for tuning pegs, discusses the differences among Italian, German, French, and English methods of building fiddles, runs down a list of violin societies, and dismisses the use of supplier-prepared violin varnishes.
1992
AL#29 p.56 BRB3 p.483
Michael Darnton
▪ Clean your dirty Levis with a scrub brush while wearing them in the shower. Really.
1992
AL#29 p.60 BRB3 p.446
Michael Darnton
▪ Darnton sheds light on asymmetrically graduated violin tops, natural drying vs. UV drying of varnish, and the market in Baroque fiddles.
1991
AL#27 p.56 BRB3 p.446
Michael Darnton
▪ Darnton explains how to disassemble a fiddle, and the effects of soundhole size on violin performance.
1991
AL#28 p.51 BRB3 p.124
Jonathon Peterson Michael Darnton
▪ Peterson gives us the biographical scoop on American Lutherie’s Violin Q&A man.
1991
AL#28 p.56 BRB3 p.446
Michael Darnton
▪ Why are bridges always made of maple? Why do fiddles have points? How does one tune a fingerboard? Do epoxy or superglue have any accepted uses on the violin? Darnton furnishes answers.
1991
AL#26 p.52 BRB3 p.446
Michael Darnton
▪ Darnton discusses wolf tones, the life span of new fiddles, and why lacquer is never used on a violin.
1991
AL#27 p.51
Michael Darnton
▪ This is a humorous photo of some specialized clamps developed by Condit for violin repair.
1991
AL#25 p.56 BRB3 p.446
Michael Darnton
▪ Darnton turns some pictures of a mystery fiddle into a thousand words. Or a few hundred, anyway. Then he moves on to discuss distorted ribs, retouching varnish, and tracking down a mystery buzz. He adds an update about his varnish formula.
1991
AL#25 p.42 BRB3 p.22 read this article
Michael Darnton
▪ Why are some fiddles worth so much? Which ones might you find that will provide good investments? Which sleepers should you look for if you want a really good inexpensive violin for playing? Darnton doesn’t offer the last word, but his advice is worth heeding. Mentions Stradivari, Guarnari.
1990
AL#24 p.25 BRB2 p.449
Michael Darnton
▪ Darnton’s contrivance marks the finished thickness on violin plates that have already been carved to within 1mm-2mm of final tolerances, and it is simple to make.
1990
AL#24 p.54 BRB2 p.486
Michael Darnton
▪ Details include cooking varnish, finishing necks, causes of neck cracks, and adjusting a peg shaper to match your peg reamer.
1990
AL#24 p.54 BRB2 p.498
Michael Darnton
▪ The blade of a peg shaper is adjustabel, which means it can go wrong. Take the time to adjust it perfectly.
1990
AL#22 p.38 BRB2 p.376
Michael Darnton
▪ Violin people think about finishes in a way that guitar makers have difficulty grasping. It is an obsession. Darnton’s lengthy article discusses varnish types and components and offers a few recipes. It doesn’t seem fair that guitar folks don’t get to play with stuff called dragons blood, sandarac, and propolis, to name just a few. Such exotic incantations are bound to improve a finish, don’t you think?
This article has been nominated as one of the Guild’s best articles published before 2010.
1990
AL#23 p.22 BRB2 p.486
Michael Darnton
▪ Topics include sharpening a peg reamer, dealing with fingerboard tearout, tailpiece setup, pitching the neck, and staining the bridges.
1990
AL#22 p.32 BRB2 p.486
Michael Darnton
▪ Darnton suggests the most basic reading list for those wishing to make their first violin.
1990
AL#22 p.32 BRB2 p.487
Michael Darnton
▪ How tight should a violin nut slot be?
1990
AL#22 p.32 BRB2 p.488
Michael Darnton
▪ Does a fiddle’s fingerboard need relief? Yes, and doing it right has an ellement of elegance that would not be obvious to a guitar maker.
1990
AL#22 p.32 BRB2 p.489
Michael Darnton
▪ About the angle of a fiddle bridge.
1990
AL#23 p.22 BRB2 p.490
Michael Darnton
▪ The ebony’s grain tore out a little when I planed it. Now what?
1990
AL#23 p.22 BRB2 p.491
Michael Darnton
▪ Yes, you can resharpen a peg reamer.
1990
AL#23 p.22 BRB2 p.492
Michael Darnton
▪ Tailgut length is important because it controls string afterlength.
1990
AL#23 p.22 BRB2 p.493
Michael Darnton
▪ Getting the height and pitch of the neck right is not entirely straightforward. Here’s how to think about it.
1990
AL#23 p.22 BRB2 p.494
Michael Darnton
▪ A new bridge on an old fiddle is too darn white. Here’s a recipe for a stain to spray on it.
1990
AL#24 p.54 BRB2 p.495
Michael Darnton
▪ When you are cooking violin varnish, how much smoke is enough? And how much is too much? BTW, if it explodes in flames, you went too far.
1990
AL#24 p.54 BRB2 p.496
Michael Darnton
▪ Kids break fiddles. And when they do, it is usually the neck broken off at the heel.
1990
AL#24 p.54 BRB2 p.497
Michael Darnton
▪ The neck of a fiddle looks bare. Usually it’s got some linseed oil or some shellac on it.
1989
AL#20 p.5 BRB2 p.345
Michael Darnton
▪ Darnton adds information to Olsen’s article about Stradivari in AL#17.
1989
AL#20 p.14 BRB2 p.306
Michael Darnton
▪ Darnton offers some in-depth advice to help you make your violin repairs invisible.