Ùrachadh mu Dheireadh 27/11/2018
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TIOTAL
Dòmhnall Riddell, fear-ceàird fìdhle (8 à 17)
EXTERNAL ID
GB1796_SINCLAIR_DONALDRIDDLE_08
LINN
1980an; 1990an
CRUTHADAIR
Donald Riddell
NEACH-FIOSRACHAIDH
Taigh-tasgaidh is Gaileiridh Ealan Inbhir Nis
AITHNEACHADH MAOINE
41183
KEYWORDS
fìdhlean
fidheall
fìdhlearachd
ceàrd
luchd-ceàird
snaidheadaireachd
claistinneach

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Bha Dòmhnall Riddell BEM, nach maireann, à Cnoc Odhar, faisg air Inbhir Nis. Bhiodh e a' cluich na fìdhle, a' sgrìobhadh ciùil agus a' dèanamh fhìdhlean. Bha e cuideachd na Mhàidsear-pìoba anns na Lovat Scouts. Am measg nan sgoilearan aige bha Donnchadh Siosalach, Brus MacGriogair agus Iain MacPhàrlain.

Anns an earrainn èisteachd seo, tha Dòmhnall a' bruidhinn air cuid dhe na pròsaisean ann a bhith a' dèanamh fhìdhlean.

'When I go to make a fiddle the first thing I do is carve the neck and scroll - which is a good day's work - and I lay that aside. And then I build the set of ribs. Now they're built - there's two kinds of moulds: you can use an external mould or an internal mould, you see, and it works either way. You can bend them round the mould using heat - blow lamp on a copper pipe to - what they call a bending iron, to bend them to the required curves - or you can build them inside a mould, you see? In any case, the mould is only to hold them in shape until, until they're made and they, they're fitted up with corner blocks and linings and end blocks. Now that's laid aside and then you make the back, you see?

Well, the back is a - starts off about roughly five eighths of an inch thick, in the centre, you see, and you cut out the - it can be a one or a two piece back - you cut out the outline, approximately to the place and then you do the contours of the outside of it to approximately what you want. Then the inside has to be all hollowed out and the mean thickness is roughly about three sixteenths of an inch at the centre, where the sound post meets the back eventually, tapering to about roughly half that in all directions towards the edges. The front is shaped the same way but the speed of taper on the front is totally different. The front is never more than an eighth of an inch thick, almost less in the centre and the speed of taper's very different, it's not nearly so fast.

And, of course, on the front you've to glue in a bass bar, which is a specially shaped piece of wood which runs below the left leg of the bridge. It's a piece of wood about ten and a half inches long and seven sixteenths in depth and three sixteenths in thickness, you see? But it's got to be specially shaped and tuned after it's glued in position and after the fiddle's put together, immediately behind the right leg of the bridge there's a little post of wood connecting front and back and that's very, very important. The French called it the 'soul' of the instrument. A hair's breadth out top or bottom in any direction can drastically alter the flow of the vibrations, the distribution of the vibrations, and it's not exactly the same place in any two fiddles. There's an approximate place where it goes but you usually -, it's trial and error to see which is the best place. With me I can tap the plates and know which way to go, to distribute these vibrations evenly'

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Dòmhnall Riddell, fear-ceàird fìdhle (8 à 17)

1980an; 1990an

fìdhlean; fidheall; fìdhlearachd; ceàrd; luchd-ceàird; snaidheadaireachd; claistinneach

Taigh-tasgaidh is Gaileiridh Ealan Inbhir Nis

Bill Sinclair Audio: Donald Riddell

Bha Dòmhnall Riddell BEM, nach maireann, à Cnoc Odhar, faisg air Inbhir Nis. Bhiodh e a' cluich na fìdhle, a' sgrìobhadh ciùil agus a' dèanamh fhìdhlean. Bha e cuideachd na Mhàidsear-pìoba anns na Lovat Scouts. Am measg nan sgoilearan aige bha Donnchadh Siosalach, Brus MacGriogair agus Iain MacPhàrlain.<br /> <br /> Anns an earrainn èisteachd seo, tha Dòmhnall a' bruidhinn air cuid dhe na pròsaisean ann a bhith a' dèanamh fhìdhlean.<br /> <br /> 'When I go to make a fiddle the first thing I do is carve the neck and scroll - which is a good day's work - and I lay that aside. And then I build the set of ribs. Now they're built - there's two kinds of moulds: you can use an external mould or an internal mould, you see, and it works either way. You can bend them round the mould using heat - blow lamp on a copper pipe to - what they call a bending iron, to bend them to the required curves - or you can build them inside a mould, you see? In any case, the mould is only to hold them in shape until, until they're made and they, they're fitted up with corner blocks and linings and end blocks. Now that's laid aside and then you make the back, you see? <br /> <br /> Well, the back is a - starts off about roughly five eighths of an inch thick, in the centre, you see, and you cut out the - it can be a one or a two piece back - you cut out the outline, approximately to the place and then you do the contours of the outside of it to approximately what you want. Then the inside has to be all hollowed out and the mean thickness is roughly about three sixteenths of an inch at the centre, where the sound post meets the back eventually, tapering to about roughly half that in all directions towards the edges. The front is shaped the same way but the speed of taper on the front is totally different. The front is never more than an eighth of an inch thick, almost less in the centre and the speed of taper's very different, it's not nearly so fast. <br /> <br /> And, of course, on the front you've to glue in a bass bar, which is a specially shaped piece of wood which runs below the left leg of the bridge. It's a piece of wood about ten and a half inches long and seven sixteenths in depth and three sixteenths in thickness, you see? But it's got to be specially shaped and tuned after it's glued in position and after the fiddle's put together, immediately behind the right leg of the bridge there's a little post of wood connecting front and back and that's very, very important. The French called it the 'soul' of the instrument. A hair's breadth out top or bottom in any direction can drastically alter the flow of the vibrations, the distribution of the vibrations, and it's not exactly the same place in any two fiddles. There's an approximate place where it goes but you usually -, it's trial and error to see which is the best place. With me I can tap the plates and know which way to go, to distribute these vibrations evenly'