Jump to content
Maestronet Forums

David Truscott

  • Posts

  • Joined

  • Last visited

Profile Information

  • Gender
  • Location

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

David Truscott's Achievements

Junior Member

Junior Member (2/5)

  1. I've been getting a lot of PM's about the clamps, so here's a link for everybody that's interested: http://www.nelsonhobby.com/miniature_c_clamps.php Very reasonable in price I might add. This is the only place I've found them. (After a LONG exhaustive search.)
  2. Purfling progress pics: I thought the light shining through the purfling channel was a cool picture.
  3. I know its not customary, but I like to remove the mould before I start the outline . I don't mind if the ribs lose their exact shape. I mark the corners, length, and c-bouts, so that I can get a very close approximation of where everything should be. This way, I can release any tension, if any, and it's much easier to get the ribs to register properly with my finished plates.
  4. Progress Pics: Starting the outline.
  5. Progress Pics Update: Rough Gouging I've still yet to find a way to hold the plates that I'm completely happy with.
  6. Thanks David! Since I had already glued the ribs, I went for the latter to good results.
  7. I'm having trouble visualizing this..
  8. There are definitely nice instruments that have a pretty deep pinprick in the back center. (I know that's not what you're talking about.) I've known makers who've subscribed to the idea that the plate should balance around that point, and could actually balance the plate on the point of their scratch awl and spin it around!
  9. If someone ever wanted to do a bench copy of a 300 year old violin, I would imagine. It's subtle, but personally, I think it's a nice effect.
  10. This is how I clamp in the linings. The clamps are from a hobby store and are very light. (Think fiberglass) They're also great for repairs. I use strips of LDPE to help distribute clamping pressure. I don't use a lot of pressure; more for trouble spots.
  11. I just use a low-angle block plane to trim the rib miters. I'm interested if anyone has a good technique to being able to get the ribs convex from top to bottom. I've seen this effect on some nice Cremonese instruments, and have heard others talk about this phenomenon as being desireable. Interestingly enough, using the wedge clamp method on the c-bouts can get this effect, but I often find that the ribs for the upper and lower bouts always end up a little bit concave with my current construction methods. I scraped the ribs a for a bit and was able to reshape some portions of them to a convex shape without too much loss of thickness.
  12. How long would you let this clamp if you're eager to move on? I'm planning on a couple hours until I start the linings.
  13. Trimmed the blocks, and fit the upper and lower bouts this morning. I use an incannel gouge for most of the wood removal, careful not to exit the cut at the edge of the maple, to avoid chipping. I make it ever so slightly concave at the leading edge, and then use a file to refine it to almost flat. When I then glue the ribs on, it closes up nice and tight.
  14. You're right! the proper length of rib is crucial! The step previous is me trimming the rib until about 1mm of wood is extending from the block with just hand pressure applied. I like using two clamps because I find that I can adjust clamping pressure from one side to the other based on what is happening as I'm applying pressure. Also, if my blocks aren't quite square (I'm trying to get away from doing everything terribly precise) I can adjust pressure up or down on one side or the other. It's easy enough to trim the ends of a rib at a slight angle if you need to as well to get the right set-up.
  15. Thanks for all of your comments! This is a fun project and I enjoy hearing everything that you all have to say. Regarding the C-bout clamping method, I have also used the the dowel and string method on a number of instruments and have gotten what I believe to be good results. I'm not worried too much about where the clamping force is exerted (with the wedge method) because I've found it's been sufficient for me to get a good "squeeze out," on the joint with the block, as long as I've fit the maple very well. As far as what is traditional.. I'm not trying to make an exact copy or even model. I'm just doing a little experimenting and showing one way that it could be done. : ) Looking forward to hearing more!
  • Create New...