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Everything posted by arglebargle

  1. If I understand what you're talking about, than the length of the ribs plus the thickness of the top plate plus the over stand, whatever you want that to be. 81-82 degrees.
  2. Evan, If you are using the cf rods in both the neck and heel, than I would really just set the projection where you want it to be, not high. If it doesn't drop, and it probably won't, you'll wind up with a too high projection, halving to plane the f.b. surface to compensate.
  3. So, I just checked the string angle on the cello I just finished, and it's right at 153. This was not a consideration as I was setting the neck. I just tried to hit the other numbers. Who knows, maybe I just got lucky?
  4. I go for an overstand of around 20, but as I'm fitting the neck I'll tolerate 1 or 2 mm less or greater as the neck fits. Quick trip around the shop shows overstands on various celli (not mine) ranging from 15 to 25mm, with most around 20. I aim for 82 projection as well. I also add a carbon fiber rod to the neck, AND reinforce the heel with dowels ala Burgess. (Trade secrets, the strad Aug. 2008), so the neck does not move under tension and the projection does not fall. Raymond Schryer describes something similar in the April 2015 Strad, but the device he uses is pretty pricey (600?)
  5. Honestly, I'd rather just work an ebony blank into a fingerboard over messing with epoxies and laminates. To my mind it kind of defeats the purpose of the whole endeavor. One of the advertised benefits was that these need a minimal amount of shaping to be ready to use. That's pretty much accurate. You have to plane the sides to fit the neck and chamfer the edges, but the overall shape and dimensions are useable right out of the box. I think that the real advantages to "fake" fingerboards is for cellos. If they can be made to work (and maybe they already can) the labor and resources sav
  6. A thought, I know it already has one, (very nice) but perhaps the group build viola would be an opportunity to try one out?
  7. Bump. I was wondering, 5 months later, if there are any new thoughts on these fingerboards? I have used two of them. One on my own violin, and another on a customer's violin. I really like the way they look. You can almost see grain in them when they are polished (you can't really). If you didn't know, I really don't think you could tell that it's not ebony. I wonder how they will wear. However, the customer's instrument came back because the fingerboard let go. Now, I've seen that happen before, especially in extremes of weather, with ebony fingerboards, so I am not ready to l
  8. Does anyone have any idea when their tools will be available for purchase? Their website has had the tool section "coming soon" for a long time. Is there another way to get at them? Sure would like to give them my money. Thanks
  9. So... you're making the violin?
  10. I am really curious about this. What does this process look like? Do you really start with a bar at +/- 3mm at the ends and then fit it? Are we assuming "final dimensions" mean something different? Honest questions. (Also you Addie. Why and how?) Thanks. WAIT!!!!! Sorry, but I think I get it. So you fit the bar with all the wood intact, then shape it, then glue it in. Yes?
  11. Or don't mortise them at all. The argument that a mortised middle lining stiffens the body always seemed specious to me. The reason I think the c-bouts are typically mortised and the others (more often than not) are not is to keep the lining from "springing" away from the rib. No empirical proof, but seems reasonable to me. A problem (if it ever really was one) solved with a well fit lining let into notches rather than a full mortise.
  12. Yup. Start over. Think of it like this. Your mold is a tool that you should be able to use over and over. It should be as close to perfect as you can make it. Small imperfections will be amplified as you move forward. So do your best to get rid of them at this stage. This is NOT meant to be discouraging, but rather to ask you to pause at this stage and assess what you have done so far and how it could be better. Wooden forms are cheap. Violin wood is not. In my experience, precise templates and forms are every bit as important as many other aspects of this process. Take th
  13. It kind of looks like trouble waiting to happen. I'm thinking sudden bad weather when you're not around, excessive heat/humidity, crap falling from the sky. It doesn't take much in terms of excesses to mess up an instrument. A slight drizzle combined with a strong breeze (I know, Chicago doesn't have much wind.) could result in a soggy instrument. I would be more tempted to combine indoor uv light and outside exposure, and only when you are around to take care of any problems that arise. As far as even exposure, a disco ball motor works great. 10 bucks on amazon.
  14. Yes, it's not an ideal repair, but an expensive neck graft on an otherwise fine, inexpensive cello doesn't make any sense. Here is what I do: Assuming that the break is clean and goes together perfectly, remove the fingerboard. Two part epoxy, and clamp the two parts together. Leave over night. Drill a hole at a downward angle of your choosing, insert two part epoxy slathered dowel into two part epoxy filled hole, clamp and let cure overnight. Trim and replace fingerboard. I've never had one come apart. Ever. It is a pretty common break (I'm assuming the break is right at the heel
  15. Really great video of a really fascinating process. Most have seen something like this before, but I thought this was particularly well done. Enjoy!
  16. First off, let me say that these are a GREAT product that I use everyday. Love them! But a word of warning. I have the power source coming through a little hole in my bench, Like so: And thusly: I was using some steel wool, discarded it, and it got bumped onto this power source, where it then caught fire. Smelled the burning, took care of it, and that's that. So be careful. This is in no way a reflection on Doug or his product or it's design. The same effect can be made with a 9 volt battery. It's the nature of the beast. Just thought you all sho
  17. If it is done correctly, there should be no measurable change in the sound or the playing characteristics. Like all major repairs involving removing the top and mucking around inside, there may be a period of adjustment when the whole thing is put back together. (Think major surgery.) But for this particular procedure the repair doesn't really alter the basic existing internal structure. You are correct about devaluing the instrument however.
  18. So, I just tried the rotoclip, as suggested by Mr. Doran, and I am pretty happy with it. It is not aggressive at all. Well, not much. If you are not careful, it has a tendency to pull to the left, and you could dig down a little too deeply, but you can make mistakes with any method. I found it very easy to control. After about 20 minutes I had the back down to a point where the rest of the work with gouges and planes would be much quicker and easier. I could have gone even further, but I do enjoy the gouge work, so... Down side, makes a lot of small shavings, so if you can use it in a separa
  19. Thanks for the info. I'm going to graduate a cello back soon, so I might give this a shot. I agree that there is really no need for this type of thing for a top, or a violin/viola, but cello backs are a whole other animal. (I know, Mr. Hargrave. We all saw your bass. A better man than I.)
  20. Nice! I'm intrigued. What do you attach the disk to? By original disk, do you mean this one? Thanks!
  21. You make a good point. I went after making a dozen or so instruments and working in a shop for a few years. In the same vein, I had the opportunity to spend a couple of hours with the instruments in the library of congress, with some other students, unsupervised. This was after only several months training, still sopping wet behind the ears. I know that I got a tiny fraction out of that visit compared to what I would take away from it today. The makers visited the shop I was working in at the time. I showed them an instrument I made, and they invited me. (It was a pretty shabby e
  22. Jonathan, It is certainly NOT out of the question. I worked in Cremona for a summer for two well known violin makers, and I found the experience invaluable. Being in that city, surrounded by so many talented violin makers working everyday was a very important dose of reality for me at the time. I found that it grounded me, and stripped away some of the romantic notions I had about being a violin maker, which was very useful in the long run. If you really do some research, and contact as many luthiers there as you can find, (and learn some Italian!), I would find it hard to believe that
  23. Didn't read the article yet, but are there any examples, by anyone, of perfectly symmetrical scrolls? I would doubt it. I find that even the most precisely laid out scroll will become, by varying degrees, asymmetrical once you start carving away. And that is a good thing.