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Everything posted by catnip

  1. It has been awhile since I posted. It takes me awhile to decide what wood (back) to use for the next few violins. I have some perpendicularly tight flamed Maple, flamed Carolina Popular and some nicely flamed Cherry. I also have been converting my 1/2 molds over to collapsible 1/2 molds. Here is the ash violin finished.
  2. Mike, have you checked your bassbar placement? The main problem with narrow f-holes (less than 40mm) is the bass placement may partially cover the upper f-hole. The Soil has ff-hole distance of 38.6mm with C-bout of 108.5 mm. It supposedly is a great violin.
  3. Yes it does cut. After grinding the toothed edge you are left with a fine flush cut saw... very similar to a flush cut dowel saw. It is a very controlled cut and if you shine an led strip light you can monitor the progress.
  4. This comes from the Strad 4 volume measurements pdf. Unfortunately it is not summarized in a table but is given for each instrument. My previous comment was based on an overall generalization that Strad violins got bigger every decade as he changed his mold ( I believe there are 12 molds) Here are the specifics of some his narrow earlier violins: name: length : upper : middle : lower : ff-spacing ... (mm) 1669 no name 355.5 162 105 202 37 1670 Sachs 352 158 103 196 35.5 1679 Parera 354 162 1 05 202 36 The other reason I am asking about this is that I have some very nice wood that is a bit narrow ie 204 mm wide or 8". I could add wings to get the standard 210 mm but to keep the symmetry of 204 mm lower bout the width of the C-bouts and upper bout would have to be reduced a bit. Also I do not have a "small" mold version of a Strad yet and I was wondering if there is a good choice of molds from his earlier models.
  5. Some of Strad's earlier violins had narrower C-bouts and through the decades the C-bouts width increased from 102 mm in 1669 to 111mm in 1715. Is there an acoustic preference for wider C bouts? With the narrower 102 mm C-bout the upper f-hole spacing on that violin was 36 mm. The f-hole spacing for the 111m (1715 Strad) was 43 mm. With a standard bridge width of ~41.6 mm I presume that there may be an acoustic reason keep the upper f-hole spacing around 40- 42 mm which means a wider C-Bout of a least 110mm. Do the narrower C-bout Strads such as King Joseph, Ludwig, Jupiter ... have a good sound? Just curious
  6. I find a picture very useful. Here is an exaggerated example of what I understand grain run out to be. The edge of billet has diagonal grain lines that do not run the entire length of the billet. The top of the billet has vertical grain lines otherwise it would not be chosen a tonewood or would be cut so that the grain lines are vertical. This is a rectangular billet which has more symmetry (flipping) options than a wedge billet.
  7. I modified a 24" fine saw blade as a tool which can be used to start a cut into the upper block. The blade is 0.80 mm thick but I ground the toothed side to 0.35 mm and it works quite well to give you a perch into the upper block so that you can continue with a long seam separator. You can use it carefully as a saw since it has zero kerf to initiate a thin cut into the upper block.
  8. Here is a rib and neck repair I did a few months ago. It involved the standard button graft, neck reset, plexiglass counter form etc... I had some free time and I wanted to document the process for future reference. The hard part was replacing the small missing fragment from the rib. Before and after...
  9. maestronet server hosts its own images which us why images are still visible years later. There are about 130,000 images on the server. Adding a hard drive is cheaper than paying rent.
  10. I have sent a message to the site admin regarding this problem and hopefully things can be restored to the way it was. I only want to log in when I want to post a comment.
  11. I really don't understand why there are so many guests who can view the content. What browser are they using? I really need to view the content as a guest. I have written a python script that allows me to save a discussion in a very readable format instead of using the tedious cut and paste method. Is this a temporary situation?
  12. As of this morning there were 27 registered users and 75 guests viewing the content of Maestronet so it might just be something with specific browsers ... I am not sure.
  13. I used to able to view content as a guest but now I get "Sorry, there is a problem Something went wrong. Please try again. Error code: EX0" I have always been using FireFox. Clearing the cache and history does not solve the problem. This is a very recent problem. Any idea what the solution might be??
  14. Its been awhile since I posted. I am still in the process of setting up the ash, pear, maple and quilted maple violins after varnishing. i like to let the oil varnish harden for at leat 4 or 5 weeks before I polish and do the setup. Both maple violins are a dark golden brown; the pear violin is red-brown and the ash violin is amber. Here is the ash violin drying in the sun
  15. I can see trying this design with a spruce top, especially the increased thickness below the bass f-hole but I don't see the purpose of the supports (diagonal braces) for the back. Have you tried this with a standard graduated back?
  16. Just to wrap up... this violin was finished a couple of weeks ago and has settled in quite nicely. Now it is time to give them some sun before varnishing.
  17. There are two or more different types of notebooks. One is for your own notes as a summary of the key information on how you make a violin.... with lots of diagrams and measurements. The other is information that is unique for each violin you make so that you can review important details later. The third is how you varnished each violin.
  18. The box is closed and now it is time to move to the scroll. I now have to match the grain and flame of the ash with a maple neck block. I have a pre-cut (profile ) of a maple neck block but it was cut a long time ago and so does not conform to my method now. I tried to adapt my "printed scroll label" to this matching maple block but found out two things that bothered me. The pegbox was about 4 mm shorter and it was a bit too heavy. It would end up being about 10 gm heavier. Luckily I was able to find another more suitable one... similar grain and lighter.
  19. Just curious... What resources (books, videos etc) are you using. As was mentioned the best feedback is honest criticism of your work. Do you play the violins so that you can assess your sound personally without relying on polite comments. Setup and adjustments are also big component of violin making. Thanks for the pictures of your violins.
  20. The top is a one piece spruce 0.34 gm /cc which is on the light side. Because the grain lines are very close on the treble side compared to the bass side I decided to angle the treble f hole a bit more to cut more of the grain lines for more freedom of movement in that area. I also do a bit of fluting of the lower f-hole wings.
  21. I have two 4/4 violin scolls almost at the same stage and one (soft ample) weighs 108 gm and the other (quilted maple) weighs 121 gm. Weight will be removed when you fit the neck to the fingerboard. What weight were you expecting to get at this stage?
  22. Just to finish up this Matlab (Octave) contour program in case there are some interested programmers. I could not find an easy way to exclude the boundary points using one if statement so I used a For Loop to iterate through all the values in the vector (1 dim array). Here is the code. It is a bit of a "hack" since if an internal point has the same value as an boundary point it will also be excluded. So I am going to leave as is for now. for i = 1 : length(z) if z(i) != 4.2000 % boundary value of the edge text(x(i),y(i)+10.,[num2str(z(i))],'FontSize',20); % plot z value with a y offset endif end Now back to violin making.
  23. I looked up plotting text at an (x,y) location and just added this line to my program. It plots all z values. Maybe later I will exclude the outline. text(x, y+10., [num2str(z)], 'FontSize', 20); % plot z value with a y offset Matlab ( or Octave ) is a very efficient programming language since the default type is a vector. No need to write For.. Loops.
  24. Also my octave program does not plot the z value at the (x.y) location. Probably one more statement should do it. Maybe I will look into that added feature later.
  25. That plot was done using the MAG-ic probe software. But it creates a textfile with all the data points which can be read by my octave program. I have solved the "island" problem which occurs if the thickness of outline points are equal to or less than any thicknesses of near by internal points. This is not a problem for the top since an outline of 4 mm is thicker than any inside grad. I had to increase my back outline points from 4 to 4.2 and the "islands" disappeared. Here is the Octave plot using the same internal data points for comparison. I should reduce the resolution or the number of grid lines to get a better comparison. Also when the Octave program reads the data it plots it as is, whereas the MAG-ic probe knows it has to adjust its data so the (0,0) is at the lower left hand corner.
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