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  1. It is a large board but the "wild" flame is only along the central part. There is enough length for two backs but I only intend on making one for now
  2. I have some nicely quartered light colored walnut that will match the mahogany back, but could use standard quartered "wild flame" maple and stain it to match the back.
  3. Perry Sultana...

    Very clean work!! Here are some lining clamps I recently made based on an Italian design I used 6 - 32 x 1" cap head screws instead of the hex head metric m4 x 25 mm. I bought some 3/4" aluminum U channel and cut the aluminum into ~ 1/4 in strips and tapped them using 6-32 tap-bit. I also found that using a plastic insert makes it very easy to use without worrying about damaging the outside. Another advantage is that I can do both sides at the same time.
  4. He had it labelled as "Mahogany - crotch figure". I planed the edge to see if it was quartered or flat-sawn. It is difficult to see mahogany edge grain but appears to be semi-quartered. Not a problem for me as I have used both flat-sawn and semi-quartered wood.
  5. David, Thanks for posting the reference to CITES. If I make the violin it will be for myself. Like Ernie said it may be a five string... I have not decided yet.
  6. Thanks for posting that link about the different mahogany. Here is a picture of what the back might look like. I am using a negative template which allows me to easily move the position of the back to see all the possibilities.
  7. I have made violins from pearwood, birch, ash, beech, quilted maple, and walnut so long as the wood has good character or grain. I have access to a mahogany board that has extremely unusual character but before I invest the time in using this wood as a violin back I would be interested in any feedback or experience in using mahogany. I know that it is quite commonly used in guitar making but I was wondering about its suitability in violin making
  8. Mike Molnar's Bench

    Thanks for that second picture. I very often find that I have to adjust the after-length on new fiddles as the tailgut stretches a bit. Maybe I will make something similar except I like Don's solution too! Quick and simple
  9. Mike Molnar's Bench

    I find this gadget quite intriguing and useful. I am not sure what you mean that it sits on the fingerboard. It looks like the bottom block must be rather thin to fit on top of the fingerboard yet fit under the strings. The typical clearance is ~3.5 mm on the E to 5 mm on the G. Does your string retainer clamp to the under side of the fingerboard? If it did you could keep some string tension which would keep the peg string windings in more or less in place.
  10. Perry Sultana...

    Oh, About your Ambrosia Maple. The staining is due to the Ambrosia beetle. Usually there is an exit hole visible but if the staining bothers you, you can reduce its effect with Hydrogen Peroxide (Industrial strength)
  11. Perry Sultana...

    Great Project! I remembered when you started your first 5-string violin which inspired me to start making a few 5 strings. I am tempted to join you in this project but I am more interested in making a 5 string violin-d'amore than a viola d'amore. Do you know of any violin d'amores or plans for a violin d'amore. I don't want to build any instrument longer than 361-365 mm ( Like a Maggini). Its September and its back to making again! thanks for posting your build
  12. JOHA oil varnish from International Violin Co.

    If you add color to your oil varnish it will be difficult to get a even coat by brush alone because of the streaking. It can be evened out by using a dry brush or padding the plate with the palm of your hand or in some cases your finger. There are youtube videos of this technique. I have found that the color extract can react with the previous coat which is not good.
  13. 5 string

    If you are making a 5-Sting violin make I would sure it sounds like a violin and fits in a violin case. The C string will take care of itself. A fiddler will be playing it mostly as a violin and occasionally drop to the lower strings for harmony etc... Adding a couple of millimeters in rib height with higher arching and a longer body of ~362mm should be sufficient to produce a reasonable sounding C string. Be careful of a c-bout that is too wide ... it might comprise the bowing of the E-string.
  14. Pitch, Patch, or Potter?

    Well done but it looks very time consuming. Here is what I did with a similar "discovery". I don't have a picture of the original flaw before treating it with H30 (hydrogen peroxide industrial strength). But H30 does lighten the knot. The flaw occurred in a very light section of the maple which made it stand out even more. Here is what it looks like after varnishing. I wanted an amber - golden brown color than a darker brown which would have hidden it even more. The "flaw" is part of the character of the wood
  15. Help drawing scroll template

    Looking at your last picture (your scroll) check the placement of the A peg hole. It looks to low and / or your D peg hole is too high. The A string will rub across the D peg. My advice is too get a block of Soft maple and practice carving a scroll so that you can go through the whole process. There are many places to go wrong.