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  1. I have had success wrapping the scroll with a plastic bag and then applying a gel ice pack around the scroll wrapped with a tea towel. Leave it for 10 minutes and the peg should move without having to tap it.
  2. Joerg, Here is a picture that explains how scraping the mortise effects the movement of the FB. It is essentially the opposite of what you want. If you want the fingerboard to go left then you scrape the right side of the mortise. Just keep in mind that the mortise surface must be kept flat. .. that is why I suggest you make yourself a mortise sander. Eventually you will be able to do it with a very sharp chisel and scrapers. Take a look at Davide Sora's video. This the first of a four part video on setting the neck
  3. I like Edi's old school approach. Hopefully you are close enough to Emilg to get some direct help. Here are some pictures to explain some of what already has been said. The terminology only makes sense if you already have done neck sets. Here is the letter "L" that I mentioned earlier. When is disappears you are done! bridge alignment If you are finding planing the heel difficult you can use a sanding board carefully so that you don't round the edges. Also a flat sanding wedge is very useful for the mortice When everything is done a simple C clamp should hold the neck so that you can check all the measurements.
  4. Setting a neck is probably the hardest part of violin making since there are so many degrees of freedom. The first step is to mark a letter "L" on the neck 130 mm from the nut and an overstand of ~ 7mm. When the letter "L" disappears your neck is set! You need to set the neck early without a left or right tilt ... that means equal overstand from both sides. The next step is to set the neck parallel to the center line. Then the final step is get the correct projection angle by measuring the projection at the fingerboard and subtracting the overstand to get ~ 22 mm. Once this is done you just widen the mortise to lower the neck in place and keep checking the three variables and make minor corrections as you go. A verbal explanation is always difficult to follow so google Davide Sora and watch his video on setting the neck
  5. Here are the quilted maple and the mahogany together in the sun, and the final flamed maple hanging from the lilac bush after its first ground coat.
  6. Here is my mahogany violin varnished with Nunzio's oil varnish. After color matching the top with ColorFx dyes using a mahogany formula I applied one ground coat to the whole violin followed by another ground coat with fumed silica to the back and ribs (not scroll) then followed by 2 coats of Nunzio's amber oil. I like the smell and it is easy to work with. Almost done ... it just needs one final sanding followed by a final coat and polishing. Great product and easy to use and dries much faster than my usual varnish!
  7. Almost finished. Just some very fine sanding to do and one final coat. This is the natural color of the mahogany with just a ground coat with fumed silica to seal the pores followed by two coats of "Vernici" amber oil varnish. After all the pictures posted here I thought I might try it out on these three violins. I have been using Hammerl varnish with good success but with any varnish you have to know how to use it and what solvents and additives are necessary at the various stages. Nunzio's varnish is much simpler to use and dries much faster and has more shine to it.
  8. I say "go for it" and report your findings! There is a book that might be helpful " THE VIOLIN Its Physical and Acoustic principles" by PAOLO PETERLONGO. Although I have a degree in Math and Physics (thin metals) way back in days before calculators, my eyes roll over as I read papers on the acoustical properties of violins with their differential equations ... etc. I scan to the conclusions which very often say "more study is necessary". My advice is to measure everything and make many violins... collect as much resources as you can and find the commonalities: the intersection from all the different Venn diagrams of methods is the "science" of violin making. Some people learn as apprentices and do what works best historically but there is a reason why it works which may or may not be known. A lot of the violin science here has been passed on "word of mouth" and repeated but unless you do the experiment for yourself you have to accept what others have said. Case in point is "sound post" adjustments or "elimination of wolftones"
  9. Back to the mahogany violin to color match the top to the mahogany. I used sodium nitrite ~ 4% solution to "age" the spruce. I dampened the top with water before applying the nitrite then applied some transparent ColorFx dyes using a mahogany formula which puts you in the ball park. But because the mahogany had a very slight pink- purplish hue I needed to a drop or two of blue. The main caution with color matching is to do it incrementally and go lighter than you think. Also the "wet" color is not the same as the "dry" color.
  10. Not quite correct either, In Modern English, there are three cases (subjective, the possessive, and the objective eg he, his and him). In Old English there were four cases (nominative, accusative, genitive and dative cases)
  11. So sorry to hear this. Your workmanship and attention to detail has always been an inspiration to me.
  12. Fish Glue (from Lee valley) is fine for a small quick jobs such as temporarily gluing blocks or a dab or two for a temp fingerboard. etc ... Easy clean up and much faster than heating hide glue. But only buy a small bottle or what you can use in about 2 years. It has a shelf life of two years but it comes in handy. If you buy a larger 500 ml bottle just re-package into 5 smaller 100 ml bottles distribute them among your friends.
  13. I finished the violin about 2 weeks ago and thought I would try out a set of Alice 708 (silver, aluminum, nylon core strings) with your choice of a wire-wound E or plain E. The G and D strings were very good but the A and E were a bit weak even after the strings settled in. I replaced the strings with Warchal Karneol which settled in very quickly and improved the overall tone. I am just waiting for the weather to improve before I start varnishing.
  14. Thanks for your reply... I should have done a topic search before I posted as this was discussed in April of this year and it seems that there is no consensus. The major retailers sell a Swiss model and a French model but unless they are labelled it is not easy to tell the difference.
  15. I am sorting out my pegs after years of buying pegs from different suppliers. I am having difficulty distinguishing between the two standard peg head shapes: Swiss French ( Mirecourt) Not all the Swiss heads look alike... even when bought in bulk... some have large heads , some a bit smaller and some have a slightly different shape.