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Everything posted by MikeC

  1. Well apparently I need to practice my gluing technique. I thought the back plate was well glued to the ribs but yesterday noticed a slight gap. Upon examining it more closely I realized the whole bass side lower bout from tail block to lower corner was no longer glued to the ribs. Then I realized the same was true for the upper treble side bout from the neck block to the upper corner block! I was sure it was glued all the way around so not sure why it came loose. I have a very thin flexible artists spatula which I was able to use to insert fresh glue and clamped it overnight and now it's fine all the way around. Then I thought well I better take a closer look at the belly plate and sure enough there's about a two inch long section on the upper bout where there is a gap that needs to be glued down so I'll be doing that tonight. Obviously I need more practice with hot hide glue.
  2. When you say 'front' are you referring to the surface that the fingerboard will be glued to?
  3. How are you determining the angle at the end of the corners? ( The two crossed pencile lines in the C bout )
  4. I will not recommend titebond but will share my experience with it. In 1985 I built my first VVSO (vaguely violin shaped object). I knew hide glue was supposed to be used but didn't know how to use it so I used white wood glue. There was no internet, no maestronet and no instructions. That VSO spent most of it's existence in a storage shed in the back yard unstrung not under string tension and exposed to extremes of temperature and humidity changes. Eventually the neck spontaneously fell off. But all these decades later the center joints are still holding strong and what remains of the plates that I haven't cut up to examine how bad my workmanship was have remained firmly glued to the ribs. Not saying it's a glue that should be used but it held up pretty well but it wasn't under load bearing conditions.
  5. My bad, I saw polyvinyl and skipped the reset. Didn't expect casein to be 'stuck' in there with PVA
  6. Rosa has a video where he strips the finish off a fiddle stains and refinishes it. He makes nice looking mandolins though.
  7. Where do you get the brass for the strap? I use an old leather belt for a bending strap.
  8. Luthiers with really good eyesight or under the age of 40
  9. LOL I'm pretty rough on blades! You should have seen them when I got them. Looked like sewing needles.
  10. You're right about that. I finally feel like it's coming together. Sitting here looking at it for a while I decided the bass side corner didn't look quite right. It seems a little longer than the others so I trimmed it back some and now it looks better.
  11. Weekends spent taking care of an elderly parent and weekdays spent at work so I don't get to work on the violin as much as I would like but I finally got the belly plate glued on and the edges rounded. I think the corners are a little long but I can still trim them back a little. I dunno, may leave them like they are. Next step attach the neck. My violin likes Indian motorcycles. But I'm pretty sure it's going to end up with a Kawasaki Z900
  12. Here's mine. I had to reshape the blades. They were pointy like a needle and that doesn't work. It came with four and I lost one. Where can I get more blades?
  13. A vegan violin? Does it graze when it's not being played? Does it have four belly plates? I love animals... they're delicious.
  14. If that purfling cutter is the same one that I got from Amazon, and it appears to be, You'll have to grind and reshape the cutting tips. Mine came with needle like points beveled all the way around. They need to be single bevel rounded tip. They can be placed both bevels facing in or both facing out or both facing the same way for varying widths of channel cut. I bevel the edges of the purfling that go into the channel. You can scrape them thinner if needed. I lightly sand the perfling because the strips are quite rough as they come. They slide in easily no gaps no hammering needed. Test fit on scraps first. The purfling pick you have looks like the same one I have also. It works well for the purpose.
  15. MikeC

    Strad label

    looks like a D to me. Enlarged and enhanced.
  16. Why is there a greater distance between the E and D pegs, why not have all four pegs equal distance between them? Not just on your violin but I see that is standard on all violins. I'm just curious why they are spaced that way.
  17. The sad thing is if I had bought bitcoin in 2009 when it was a penny a coin I'd have billions now and could buy a Strad just for the fun of making a bench copy...
  18. That clears up my confusion. You're talking about adding an opaque pigment to a translucent medium, Thanks for clarifying.
  19. Can you explain more on this? Mix yellow and red to get orange, what does it matter if you mix red into yellow or the other way around. How would you make a brilliant red specifically? and what picture are you referring to?
  20. I'm slow, it took me a while to realize what's wrong with that picture lol
  21. No vetting, peer review or skil needed? Sounds like I have what it takes to make youtube videos... I was thinking of doing just that during my next build.
  22. Thank you, I couldn't find it for some reason. At one time he had some nice pictures of I think a Guarneri on there. Also he has a good image of some forms. That's where I got my copy of the Strad PG form. His design ideas seem to me to be just curve fitting not a primary design method. There are some other better design methods such as those of Francois Denis or going back even farther into the 1700s the design method of Bagatella which is seen in some of the artifacts in the Strad museum in Cremona.
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