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About Fiddlemaker5224

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  • Birthday 05/08/1958

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  • Location
    Hammond, Indiana U.S.A.
  • Interests
    4/4 instruments, Hardanger style instruments, CNC tooling.

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  1. MS Word has automatic backup for files in case of a crash. You can search the drive for the document you are looking for and many different files will appear under that file name. Normally in the Temp file.. You just need to select the backup extension of the file your looking for. Once you find the file open it and then save it under a different file name.
  2. This is the First step after planing the correct angles on the side of the neck. It is better to make a neck angle gauge before doing this step. By attaching it to the top of the fingerboard, this will assist you in getting the neck swing correct and centered. Then the use of chalk to test fit the neck. Step 2; Setting the over-stand can be simplified by making a 6-7 mm shim, placed under the fingerboard against the end of the neck extending at least 6 mm on each side, with thin two sided tape. This will insure the center-line of the neck is perpendicular to the glue joint of the top plate. If the neck does not sit on the shim under the finger board you will need to mark the heel of the neck that is touching the back plate. Normally this is done with chalk, then remove the excess to lower the neck into position, until the 6 mm shim contacts the top plate. Both sides of the shim should be touching the top plate at the same time, thus preventing a twist of the neck. Step 3; Centering the neck to the corpus is completed by marking the center line of the neck and 6 mm shim. This mark should align with the center of the top plate. You can adjust this by trimming the side of the mortice to bring the mark to the center. If a gap appears on the side of the neck between the rib and neck, this can be filled with scrap rib material or spruce. Then go through the fitting process again to adjust the thickness of the filler using the chalk method. Step 4; Recheck all the angles and depth the neck sits into the mortice, insure the neck button is flush with the heel of the neck. Then when you are satisfied, heat up your glue and seize the mortice, back of the neck, neck heel and the button. Let dry for at least 2 hrs. Step 5; Recheck the neck alignments removing excess dried glue where needed. When you are satisfied with the alignment remove the 6 mm shim from under the Fingerboard, and glue your neck in place. Then let dry for at least 24 hrs. You can now remove the neck angle gauge and any excess glue that has squeezed out.
  3. I have to agree, He makes some very good points in his book. He also advocates the use of traditional methods. Many ways he is giving you his interpretation of his observations. Go for the gold, it seems like we are all doing that, just not talking about it very much.
  4. From some of his instruments that I have heard, they were really well made sounded great and were well balanced. Great craftsman also.
  5. Ok, I have reviewed some class notes and Michael is correct. "When the instrument is unbalanced a slight adjustment to the sound post in the opposite direction of the stronger strings will help bring this back into balance". In this case the sound post moved slightly to the treble side may improve the balance. Be advised this may also require a new sound post to be fitted as the sound post may need to be shortened to prevent bulging and the development of sound post area cracks..
  6. I have to agree. If the bridge adjustment fails to correct the balance, the plate thickness between the ff holes is to thin. The Treble side is slightly thicker to gain the projection of the A and E string.
  7. Yes I have done this also, the 1/8" fine band saw blade works just fine. I also use 3M 77 spray glue to put the template on the sheet aluminum. Then on the opposite side of the aluminum, I glue a 1/4" door skin. This way the aluminum becomes mixed with wood shavings and it is easier to vacuum up, and safer to handle.
  8. The F holes are confusing, it looks like someone had opened them up trying to get better sound. I would leave them as is for now. As for the rib repair, I would try to get some material that is a match and make a new rib for the entire bout. Then you can also replace the cracked rib at the end pin. I think it is in the same section.
  9. The top plate will need patches where the material tore out as the top was being removed. The old cleats will also need to be replaced checking to insure the crack is fully closed before you add new ones. There is also a treble side crack from the end block that will need to be cleaned and cleats added after re-glue. Is the large patch where the sound post touches smooth? Contoured correctly? Hard to tell but you have a couple weeks worth of repairs ahead of you.
  10. First thing I would do is to make drawings full size, then a fixture to re-bend the lower bout rib that is blown out. Normally the pieces would be carefully reinstalled with a lamination on the inside. This looks like a German made instrument. Check the thickness of the sides since you have the top off already. The back plate appears to have a cross grain crack. Can this crack be pushed back into place? I would also make a plaster cast of the back, this when lined with cloth will help support the back as you work on it.
  11. I do not think that you would get much for the instrument. The Neck seems to be the only usable part. and that needs new set of pegs and bushings. The case on the other hand seems to be in better condition. You should be able to get more for that. I have seen these necks advertised through different suppliers about 20 years ago. They are Chinese, and carved rather well. The corpus of the instrument is not saveable, as the previous repairs have made it so that no other repair can be made without considerable time and effort. Perhaps hang it on a wall for a reminder.
  12. You do not need to sand, as this will remove varnish. Just use a clean section of a brown paper shopping bag. This will smooth any high spots and burnish the finish a little bit. You must make sure the varnish is properly prepared (no dust or moisture).
  13. I remember you saying that to me once before. But I still tune the plates, sides and neck as the instrument is being built. The fingerboard bridge and tailpieces can also be tuned to optimize the bowed string instrument. Its just a manner in which this tuning is done that differs. The end resualt is still a great sounding instrument.
  14. If it as you say Speculation, then how do the vibrations reach the feet. The Wave representation is just showing the flow path the pressure waves take through the bridge. Not the vibrating modes of the bridge itself.