catnip

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  1. After the saddle and nut it is time to do the pegs. After reaming the peg holes a bit I like to test the alignment with 1/2 size pegs to see any adjustments are needed.
  2. Yes, I always like to assess the violin in the white before I do the finishing . If you look at an earlier post (May 20) you will see that I use a locating pin drilled at 45 degree when the FB is initially lightly glued to the neck. This makes it a lot easier to align and re-glue the FB permanently since I only need to align the FB with the heel. Even still there may be a very slight overhang (maple ledge) which is easily cleaned up with a scraper.
  3. In setting the neck I find it useful to use a temp bridge held by a rubber band and center line drawn on the fingerboard.
  4. Aligning the fingerboard with small studs before temporarily gluing it . Cutting the heel with a dozuki saw. I find this method easier than using a hand plane. Finishing the shape of the neck.
  5. The pegbox and the chamfer are more or less done. I use a small piece of wood from a coffee stir stick to protect the nut area when I am hollowing out the pegbox.
  6. There still is some final finishing to be done on the f-holes which I will come back to after I finish working on the scroll. I have a nicely flamed quarter-sawn piece of pear wood that I can use to get two scrolls. Cherry is also a close match for pear wood but cherry has wider flames. I like to cut the sides of the pegbox with a bandsaw so I use the red lines as a guide which closely matches the wider bottom of the pegbox. Then the slight taper of the sides is done using a rasp followed by scrapers. The last half turn into the eye is done using a gouge. The final profile of the scroll is almost done. Next I will hollow out the pegbox before doing the fluting.
  7. Checking the horizontal layout of the f-holes just to confirm the arching. In laying out the f-holes from the center line sometimes a notice a slight asymmetry ( ~ 1 mm) with respect to the edges. This is probably due to some distortion with the rib outline after removal. I determine the outline of the top after gluing the back to the ribs. This makes for a consistent overhang at the expense of a small distortion. After cutting the f-holes I also relieve (chamfer) the hard edges on the inside of the f-holes. With the bassbar installed the top came in at 63 gm with m5 of 334 hz. Usually m5 is easily seen using audacity and tapping but for this top I had to specifically hold and tap with the microphone centrally located. This tells me that this top has much stronger other modes and I also left the bassbar a bit higher (stiffer) than normal.
  8. With the outside arching of the top almost complete it comes in at 150 gm with a density of 0.32 gm/cc. Since the pear had a higher density I decided to use some lighter density spruce. This will probably mean that the top will come in under 60 gm with the bassbar. After completing the outside arching by eye I then check it with my arching templates to see how close I am. There was a small correction on the long arch at the upper bout and no corrections needed on the cross archings. The spruce has a small deformity (character) on the bass side of the lower bout.
  9. Although it is not necessary to trim the blocks before removing the garland with a collapsible mold I still do it. The back came in at 125 gm with reasonable flexibility. This leaves me with option to clean up the outside later when I finalize the fluting in the corners. The garland came in at 54 gm.
  10. With outside arching more or less complete the plate comes in at 337gm which puts the pear density around 0.73 gm/cc which is on the high side. Normally maple plates after finishing the outside arching come in around 230 gm to 270 gm depending on the species. Working on the inside graduation the plate is currently at 160 gm with M5 of 375 hz. I hope to get in down to 125 gm with an M5 above 300 hz but that will depend on how the plate flexes. My goal will be 2.0 mm in the bouts tapered to 4.0 mm in the center
  11. I too have made quite a few tools and jigs when I first started but now 15 years later I hardly use them and even forget what its purpose was sometimes. Here is a example of a tool to clean out the purfling corners... that I do not use now. It was made from a fine tooth hack saw blade and has curved ends. But I do use my homemade pasta maker to squeeze the purfling from 1.2 mm to 1.0 mm which makes inserting the purfling quite easy. It has a taper so the the final thickness is controllable by using a wooden block spacer
  12. I have some curly Swiss pearwood that was just not wide enough for a one piece back so I added 6 mm strips to the lower bouts before doing the the rough outside arching. After inserting the purfling the extra wings are barely noticeable. Here is the back sprayed with a bit of water to enhance the curl. The pear wood is quite dense so it might be a bit of a challenge to get the weight down to an acceptable range. Normally after finishing the outside arching I record the weight of the plates before starting on the inside. At the rough stage it weighs 378 gm. I hope to bring the back plate down to under 300 gm.
  13. Interesting topic. I was just cutting blocks yesterday for the next few violins. I used to use my old Blacker and Decker radial arm saw with a setup shown earlier but ever since I made a sliding table for my band saw I prefer the accuracy of the band saw with the sliding table. I measure and mark the height and store them for easy access later.
  14. Well its back to making violins now. I am just choosing the wood for these violins and I listen very carefully to hear which billets speak to me. I had to re-sawed this quilted maple billet since the quilted curl is much stronger on one side than the other. I had to remove a thickness of about 10 mm to maximize the curl. Also it gave me a chance to test my bandsaw dust system under normal use. There is the usual table surface dust but the lower wheel housing has very little.
  15. Just to wrap this diversion up. My prototype wooden tunable D whistle is finished and is quite playable. I wanted something that is not as loud (harsh) as a typical metal pennywhistle. I left the walls of the fipple and body a little thicker which gives a much softer and sweeter sound. The second octave is slightly flat compared to the first octave with normal breath and this is quite typical for a cylindrical bore. An improvement in design would be to drill a conical bore in the body similar to the construction of a recorder. I thought of using my cello reamer but the taper has to be less. Maybe I will make an interchangeable C body. Everything will go much faster the second time around.