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  1. Machinist dial calipers are too accurate and difficult to read quickly when checking overall thicknesses of plate as you move from 5 mm at the center to 2.5 mm in the bouts.... the dial pointer spins too much. The simplest solution is to get a digital dial indicator ( needs a battery) but is much easier to read.
  2. David, Thanks for posting your picture with a further explanation
  3. Holidays are over and it is back to making. The quilted maple is finished in the white and I am working on the next one... another curly ash violin.
  4. One suggestion you may want to try: Square both your lower ribs with a plane or sanding block (your preference). Draw your center line on the end block. Then! only glue one lower rib to the center line and wait for it to dry. Then clean any glue runs with a square scraper and custom fit the other lower rib to the glued rib and glue it in place. It works every time, easy to do and you always get to see the joint as you clamp it. Just takes a bit longer. You can practice this method with the upper ribs. The trick is to only glue one rib at a time. Your clamping block is just shy of the joint so you can always see how good it fits while you are gluing it. No pictures this time.
  5. This is my third quilted maple violin. Because it is flat sawn I try to keep the `stiffness` (tap tone) above 320 hz as I graduate the plates. The back ends up being ~5.0+ mm in the center , 2.6 mm in the upper bouts and 2.5 mm in the lower bouts with a plate weight of just under 120 gm (118 gm). I am very happy with the tonal character of flat sawn quilted maple. The wood has a tendency to tear with a scrapper or even with a plane, but the ribs bend easily. And I do have a tendency to keep the graduations of the top and back slightly thicker so that I finish the outside (in the white) later without worries.
  6. More progress on the quilted maple... I am using dark Indian rosewood fingerboard and have reinforced the neck with a carbon fiber rod.
  7. Started another quilted violin using my new collapsible mold.
  8. Hi David, Your analysis is much appreciated. I have saved all your detailed contributions plus the whole thread of "Geometria Fabrorium" topic in a word document. Although I don't completely understand the geometry aspect of violin design in that topic I like your pictures explaining your process and thinking. For the angle of the corner edges I usually just pick a points on center line near my locating pins and draw the angle... turns out to roughly 25 degrees for the lower corners and ~20 degrees for the upper corner. My question was about the direction or angle at which the corners point. This is much more "visible" than the angle of the edges. I was just curious if there was a "pleasing" pointing angle.
  9. Thanks Mike... good eye
  10. There has been a lot of discussion about corners but I have not found anything about the pointing angle of the corners. I like lower corners that point more upwards rather than outwards and upper corners that point more downwards. I know that the pointing angle is largely determined by the poster mold but the angle can be tweaked by how the corner overhang is shaped. I have done some measurements on cremonese strad posters and have found angle A to be ~35 degrees and angle B to be ~40 degrees. This is something that is easily seen but maybe not measured conscientiously.
  11. Those are very looking billets of wood. Looking forward to seeing your progress
  12. Hi Ernie, Can you post a picture of your Mahogany? My mahogany had a density around ).56 gm/cc and I finished it at 113 gm with M5 at 333 hz, but as you know most of the tone comes from the top and top arching, thicknessing etc. The top had a density of 0.34 gm/cc and was finished with bb at 60 gm with M5 of 336 hz. I leave my top plate slightly on the heavy side for future adjustment after I play them in the white. It has good projection and tone and has been describing as having a "haunting" sound. Establishing the long arch of the ash violin after doing the purfling channel.
  13. Good progress on the neck. I usually take a break and look at it again after a few days. There always something more to do. The side walls will get finalized after I temporarily glue the fingerboard on.
  14. Hi Jim, I am not sure. I hand picked the 2" board from Oliver Lumber about 10 years ago so I presume it must be Canadian maple maybe Large Leaf. It would be so much easier to identify wood if we had the leaf. It had to be soft maple because the quartered ash had wide grain lines but I also wanted to match the tight flame.