catnip

Members
  • Content Count

    1023
  • Joined

  • Last visited

1 Follower

About catnip

  • Rank
    Enthusiast

Profile Information

  • Gender
    Male
  • Location
    Ottawa

Recent Profile Visitors

7838 profile views
  1. Setting the soundpost using my homemade led strip for more visibility. Finally strung up to be played for a while before it gets varnished
  2. Interesting article which show the complexity of the fingerboard shape in 3D. Also interesting is that MJ Kwan is an artist (right brain) and has done this analysis (left brain) with 3D software.
  3. Did you also do the underside of the fingerboard... ballpark for ebony is anywhere from 65 gm to 75 gm depending on the density (quality) and your underside thickness.
  4. On the other extreme here is a flute (frula) maker doing his craft with a minimum investment in tools. He also has a young helper. He uses a homemade hand driven lathe.
  5. Peter Westerlund, a Swedish violin maker is sharing how he is making his 400th violin from A-Z . When I first started I found his site very useful. He posted pictures from his workbench for each violin he made. I copied some of his useful jigs.
  6. Peter Westerlund, a Swedish violin maker is sharing how he is making his 400 th violin from A-Z . When I first started I found his site very useful. He posted pictures from his workbench for each violin he made. I copied some of his useful jigs.
  7. Flat sanding the heel. This method allows me more control in lowering the neck into its final position. When it fits I clean it up with a scraper. Aligning the neck with a temp bridge and a center line drawn on the fingerboard Marking the extension of the fingerboard with a half pencil. I used a bandsaw to cut it in half.
  8. Davide, we all appreciate your videos and your English is very good. A lot of people try to explain things with what they think is clear but the reader has to take a long time to figure out what it is... a picture with arrows is universally easily understood. I don't understand what you mean by ascending (?) angle but I think it has a lot to do with the width of scroll ... the wider it is the more prominent the ears will be and the ascending (?) angle will be greater
  9. When I first started making violins I researched this website for "jigs" that make re-gluing a fingerboard easier. There were many suggestions and this seemed the simplest. I just want to eliminate the fingerboard from pivoting at the nut when you align it at the root. Looks like we do share some ideas from guitar makers.
  10. First step of fluting the f-hole. I lowered the outside edge to be more or less parallel to the inside edge. With the bass bar finished the top came in at 75 gm with grad thicknesses of 2.4 mm in the upper bouts, 2.4 mm in the lower bouts, central area of 2.9 mm, 3.0+ mm for the f-hole areas and sound post. After temporarily gluing the fb I drill a locating pin hole for a small finishing nail. This makes gluing the fb so much easier after varnishing. The fb only has 1 degree of freedom. The pin is always removed and the nut will hide the pin hole.
  11. He must be very experienced in planing ebony fingerboards... I noticed that he angles his plane which also avoids tear out. But I would check the fingerboard scoop with a straight edge before polishing it... I don't trust my little plane to put the proper scoop
  12. To my understanding the side view of the f-hole looks unbalanced. The top (inside) edge is more or less parallel to the ribs but the lower (outside) edge always has a dip. Removing wood on the lower (outside) half of the f-hole makes a more balanced view from the side. Then it just a matter of subtly blending the lower wing arch to accommodate this change.
  13. I used contact cement for the vinyl erasers. I had a thick block of Manitoba Maple that was too small for a back. But it needed to be cut on the quarter for a neck. I ended up with block that was wide enough for two necks. I used my two neck template. Again I find this the easiest way to scribe a center line. Red line is my cut line that takes into account the larger pegbox width at the bottom (chin area) Cut the outline of the complete first turn ... thanks to watching D Sora video. Drilling deep into the throat using a depth stop. It makes carving the deep pocket for the A string a bit easier Here is the result. I like to do the pegbox before doing the fluting. Also you can see the cut line deep in the throat which was done with a knife.
  14. I bought those on a clearance sale from Staples. These novelty large multi-striped vinyl erasers are for "big" mistakes. Not popular with school kids but I saw a purpose for them. You could also check the dollar stores if they are open.
  15. Vinyl erasers are more flexible than cork... Just don't over tighten them. F holes are done for now but they are not exact copies of Strad f-holes... more what I like. And there is still some more refinement to be done.. for me it is an iterative process which I revisit with fresh eyes after a day or two. The resin pocket is still there and adds a bit of character... hopefully it will be minimized when I color match the top the back. Now it is on to the scroll. I found some Manitoba maple that had similar wide flame and grain as the Spanish cedar (Mahogany) and can be easily color matched to the back.