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sinebar's Achievements


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  1. Well I finished bending the ribs for fiddle #2 and one thing I found out quick was DON't soak them in water as suggested in the H.E. Brown book. It makes them a lot more suseptable to cracking. I guess the water softens them too much along the flame areas. I got a lot better results by just dipping them in water and then bending them on the heating iron. They were much stronger with out being soaked through and didn't crack as long as I didn't force the bend.
  2. Ok, I've abandoned the idea of fitting a mould to an existing top and back. Too many uncertainties. I ordered a kit from International Luthiers Supply that includes a top and back roughed out as well as a roughed out neck.
  3. If you're going to use ready made plates (didn't you allude to something of the sort in an earlier post?) you'll have to make the mold directly from the plates. You won't have much of a choice as far as pattern goes, or were you talking about joined, rough carved billets that don't have the outline cut yet? Otherwise, I'd recommend getting a full sized Strad poster and making a pattern from that. Can't get much more accurate than that. Your right. Chances are my mould would probably mismatch a top and back that wasn't made for that mould. So I will get a back and top partially finished build a mould from that.
  4. I think i'm going to get started on my next violin as soon as I can and I will need to make a mould because I'm going to do a little more from scratch work this time. But I need a print or pattern of the violin outline to produce a mould and use as a general pattern for my instrument. I would like to find as accurite of a pattern as I can. That is one that closely matches an original Stradivari. I have a feeling that a lot of patterns out there have deviated somewhat over time and do not match Stadivari's pattern very well. Does anyone know of a source for an accurite pattern? I would love to have one that would include the radii so I can program a CNC to machine the mould from aluminum.
  5. Congratulations on your first venture! Tell us, what insights have you gained--what skills did you need to hone, and what would you do differently next time? Well I definately won't use stain again. As for skills I believe making and using scrapers takes a bit of practice but once I got the hang of them it went pretty good. I'm still gaining insights and that will probably be an on going thing.
  6. Wow! those are really nice. Where did you get your varnish. I'm not going to use stain ever again so I need a source for high quality varnish.
  7. Looks mighty fine. Pretty maple. Did you get the white body from International Violin? Is it loud? I wonder if anyone who understands these thigs would comment on the arching of this violin. Del Duca I got it from Steve who posts here as Flamenco. I believe he said it came from Bulgaria. It's not really very loud but I have Obligato strings on it which tend to be a bit mellow.
  8. Ok, I'm going to try to post a few pix of my fiddle I recently finished. It started life as white unfinished violin and I regraduated the top and back and did some other finishing work. I brought it to a local violinist today for critiquing and his quote was: "actually it sounds pretty good" So I was satisfied with that. fiddle fiddle fiddle
  9. Why not just do your scraping on the outside of the totally assembled instrument? Some people think (without any hard evidence, but that's another story. . .) that Stradivari could have done it that way. Wow, and I was going to do it the hard way. Yeah, that would be the way to go if I attempt this. Maybe after I make a few more fiddles the conventional way I will try that.
  10. BTW, just out of curiosity, how do you plan to eventually complete the rib assembly - leaving the back and ribs on, or taking them off again and putting the ribs back on the mould? And not to mention the lining. This would be a problem. I suppose I could make a sort of outside half mould that would hold the ribs to the correct shape while they are glued to the end and corner blocks, back and top. Don't know if the complexity would even equal the benefits. Might be interesting to try though.
  11. I finished my fiddle last night, strung it up and played it for a few hours. It seems to sound pretty good, though I'm just a beggining player. Compared to my purchased violin I think it compares pretty well. And I noticed that the "G" string sounds better even with Obligato strings. It has a more focused sound. This fiddle was a white unfinished instrument. The next one I am going to make everything except the plates. I think I will purchase those in the white and finish the graduations. I'm going to experiment with the top a little by employing the thick and thin top I posted about in a previous post. But I will make the base side 2.8mm and the treble side 2.5mm so that there won't be too much of a contrast between thicknesses, though .3mm may still be quite a bit. I will make the sound post area at least 3mm regardless. Now for another crazy idea. I thought about assembling a violin with everything finished only leave the top and back a little thick. And also leave off the back ribs so that the inside of the fiddle is accesable. Install a sound post and string it up and tune it. Then remove wood from the top and back through the exposed rear and play the instrument as wood is removed to test the sound. This seems logical to me because the fiddle is assembled and most of the variables are eliminated. Of course this may be easier said then done. I don't know how difficult it would be to remove wood from the plates in this manner. I suppose I could fashion a scraper with a long handle to get to the upper bouts. Anyway there it is for any and all comments pro or con.
  12. It's contrary to what usually is said, but it doesn't sound like a bad idea to me. It would be interesting to experiment with and I'll think I'll try it on my next fiddle.
  13. The thought occured to me that perhaps if one made the base side of the top plate thick, say 3mm and the treble side thin, say 2.5mm maybe you could create a sort of woofer and tweeter. Perhaps the thick base side would provide good sounding G and D and the thin trebble side a bright and clear sounding E and A. Just a thought of course. What do the experts think of this?
  14. Wasn't this just discussed a week or two ago? <g> You don't stain the wood, (for a violin, at least) you use colored varnish. Seal and/or tan the wood first, then apply colored varnish over the ground, sealer, filler, whatever you want to call it. That's how it's done. Chances are the violin you stained will look ok anyway, when its finished, it just won't have that classic finish you're probably looking for. I wouldn't worry too much about it, just don't stain the next one. Start your next violin and don't bother staining anything - before or after you seal the wood. Get the idea of staining out of your mind. Colored varnish works, and glazing works (William Fulton as described by H.S. Wake, need the particulars?, email me,) I've never seen stain look like anything else but stain. I have learned a valuble lesson and won't stain again. But I think I can salvage it by antiquing. It actually looks pretty good that way. Not beautiful but intersting.
  15. did you use Minwax? No I used an oil base stain from International Luthiers. It came as a power you mix in mineral spirits. I didn't seal before staining and maybe that's the problem. But from what I have read you seal after you stain.
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