• Content Count

  • Joined

  • Last visited

About fiddlerjer

Contact Methods

  • Website URL
  • ICQ

Profile Information

  • Gender
  • Location
    South Orange
  • Interests
    Unconventional instruments

Recent Profile Visitors

1119 profile views
  1. Thanks, that sounds workable. Was the dot on one of the blocks? Or rather I guess it would have to be two or more of the blocks. To separate the pieces when you're done, did you just pry them apart with a chisel?
  2. Yes, the ribs are on the mold. I have not made any provision for alignment pins, I reckon I could add them. Then I could trim the edges and mark the purfling without gluing up?
  3. Pretty soon I am going to be ready to trim the edges of my top and bottom plates and mark the purfling. I want to glue the top and bottom to the rib assembly but I'm not sure what I should do to ensure the glue joint will come apart easily once I'm ready to hollow out the plates. Should the glue be thinner than usual? Do I only put glue on a small portion of the gluing surface?
  4. Started on my front arching -- Here the first thing I did was to cut a long arch along the center, and then bring the sides down to the height of the center. I still do not have the edges down quite to the line.
  5. Do wolf tones tend to change with a different set of strings? I had a wolf tone at B on my A string, which I was able to fix with a lead shot fishing weight on the afterlength of the A string. I put new strings on the cello last month and I don't hear the wolf.
  6. As I start looking at the front plate I think I will have the long arching more in mind as I begin to cut wood away.
  7. I'm curious, what factor do you have in mind that I pay attention to to figure out if I've gone too far? I mean what would be the repercussions? It would be nice to have the arching in its final state before I start in on the purfling. It seems like lowering the arching now would be pretty straightforward, if that's what I need to do. But I'd hate to be down the road a few steps and find that there's some problem with the arching... I printed out the long arch design and after one more round of planing off the two shoulders, I have a pretty nice approximation of it. What do you mean about measuring the height of the center point? I know it is 16mm (I marked to that height and thickness planed the plate where it was thicker than that, and I didn't carve more than a fraction of a millimeter away from the thickness at that point), and that the ends are 5mm thick -- that's the line I carved to around the edge. That seems to fit the curve of the arching guide well
  8. I see what you mean, how the arch inside the c bout is narrower than would be ideal. Is there any way to fix this? How will this shape affect the instrument?
  9. My flat platform only extends about 6mm in from the edge (measurement taken from Juliet Barker's book) -- I think if I carved it in to 10mm width, the arch in the C bout would be rising sharply. Maybe I should do that? There is a long arch guide included with the Strobel book -- I'll set up a template from that.
  10. Thanks, here is current state of it -- the shape of the long arch is not quite right yet but is getting closer. If I plane away the marked areas, it will be closer yet.
  11. More progress... I reckon I need to work on the top of the 6
  12. Arched shape is starting to emerge...
  13. I hadn't really thought about that. Any idea what antiquing the tub would mean, how I would do it?
  14. The back is closed but is easily removable.
  15. Thanks! It's a bit of a concern, yes. I made the wood thick there and it feels solid but I reckon if it fell from a height, it could break there. Future models may include some reinforcement along the angled portion of the neck. But I don't have a design for that yet.