• Content count

  • Joined

  • Last visited

  • Days Won


About FiddleDoug

  • Rank
  • Birthday November 28

Contact Methods

  • Website URL
  • ICQ

Profile Information

  • Gender
  • Location
    Hilton, NY

Recent Profile Visitors

11755 profile views
  1. Off-The-Shelf Tool for Removing Top?

    I have a couple of this type in different sizes. Besides Ebay, you can also pick them up in flea markets that have kitchen supplies.
  2. Varnish

    I should have added to my previous post that green varnished instruments are really good for Irish music. Especially on St. Patric's day, after a few beers!
  3. Varnish

    Abraham Lincoln once said "Don't believe everything that you see on the internet". " I have heard that the color of varnish can influence the tone of the cello." That's the silliest thing that I have heard in quite a while. You can have dark sounding instruments, and bright sounding instruments, but that's determined by the Wattage of the bulb inside. LED instruments are brighter for a given Wattage.
  4. Surface gouge repair

    Kind of joking about the sticker, but I did post this photo on Facebook a few years ago, while I was taking a retouching workshop at MCLA. The caption was " There are cases where retouching isn't possible. In cases like that, put a sticker on it."
  5. miniature milling machine

    You don't need a milling machine to fettle a plane (look it up). I don't own a milling machine, and I can't really think of too many operations in this craft where I could use one.
  6. Surface gouge repair

    Since you already have the wood filler in it, artful retouching is about your only choice. Seal the surface, and start to work with lots of layers. Painting in grain lines would help a lot, but it would require very good skills to do an area that big. Your other choice might be to put a large sticker over the area.
  7. Snagged my next mystery project at the local thrift

    Did you take the back off? The front is usually taken off for repairs, and it's usually not a good idea to take the back off, except as pretty much a last resort. In any case, the front will need to come off to repair the cracks properly.
  8. Snagged my next mystery project at the local thrift

    Ditto. I'd say that the "David" was added later. Looks like the luthier who put the cleats in was pretty incompetent.
  9. Power tools for carvin violin back

    Here you go:
  10. Tool Marks on Scroll

    For this type of instrument, I often tell people that "If you couldn't see it from the outside, it often didn't get done well."
  11. Tool Marks on Scroll

    Considering the pedigree of the instrument, it's probably just poor workmanship/quality control. The kind of thing that might slip through on a "Friday afternoon", when rushing to make the quota. As for tool marks in other places, how about the inside of the top? Very often huge gouge marks there.
  12. How to cut out the forma from bottom and top wood

    The wedges are just roughly made to the angle of the roof. Easy to do by just holding a piece of pine against the end of the glued plate. If you're doing it by hand, with a jigsaw, you can do it the classical way, flat side down, on a sawing jig where you can see the flat lower side.
  13. How to cut out the forma from bottom and top wood

    I temporarily glued some soft wood wedges to the "roof", so that when you're sawing it "roof" side down on the bandsaw, it sits level.
  14. Why mortise the neck?

    Please elaborate. Do you fill the body of the instrument with water, or submerge the instrument in a tub? Seriously, that's a very long way in to try to get water to soften the joint. Especially if it's fitted properly to start with. Excessive time contact with water can warp ribs, loosen blocks, or do other nasty things.
  15. Why mortise the neck?

    Let's look at it from a structural materials point of view. What we are seeing is two different types of stress on glue joints. Tension stress, like the neck face to block joint (or like the old style neck to ribs joint), and shear stress, like the neck to button, or neck sides to mortise joint. Gluing end grains, is almost always weaker than gluing face grains. Wither the old glued to ribs construction, most of it is end grain tension gluing, with the small button being the only face grain gluing (in shear mode). With a mortised neck, the end grain face is the same as the old style, but because of the depth of the mortise, you have substantially increased the stronger shear stress, face grain area of the button. The whole area of both sides of the mortise is also shear stress, face grain area (except for the ends of the ribs). A structural engineer could probably figure it out, but I might guess that the mortised neck might be 30-50% stronger