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nathan slobodkin

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About nathan slobodkin

  • Birthday 08/17/1954

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  • Location
    Bangor ME USA
  • Interests
    Violin and cello maker, repair ,restoration and dealer. Amateur forester

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  1. Once again suggest the trois Brins style purfling which requires no prebending of anything and tends to swell and conform to the vagaries of a variable width channel. Karen Rost in Germany (Austria?) has whatever thickness veneers you might need or for that matter could probably make up preglued purfling in whatever thickness you want.
  2. In the 1970s I made some toothed plane blades in a machine shop in Lincolnville, Maine which had originally been powered by water which ran into a reservoir during high tide and then fed through a gate with a power wheel when the tide went out. The shop had been converted to a single enormous electric motor which powered two jack shafts which ran down the sides of the shop and were connected to the various machines by flat leather belts and levered clutches. I also had the feeling of going back in time and had visions of an Occupational Safety and Health inspector having a heart attack on the spot if he ever saw the place.
  3. One piece backs of poplar or willow are common. I've made well over a hundred of them, mostly cut on the slab and am not aware of any that have cracked. One piece maple exists but as David B says are frightfully expensive. Slab cut tops on the other hand are pretty eccentric. I don't believe I have ever seen one except on amateur made instruments.
  4. Michael is correct that you need to adjust your tool to the width of your purfling before marking the groove. As he says you could now find some wider purfling but I can see that your groove is actually of varying width so you may still have to clean that up to get the wider purfling to fit. I always set the marker to what looks right then mark and cut a groove in some maple and spruce scraps and then fit a scrap of the purfling in and see how tight it is. if it is a tiny bit tight you can scrape the purfling a hair or you can adjust the marker. Also a good idea to scrape a small chamfer on the bottom corner of the purfling to allow it to slide into the groove. At this point you might see if using the trois brins method of using three seperate pieces of veneer held together in the hand and fed into the glue filled groove might bail you out with your uneven groove. This method can do a very neat job if done accurately but can also give a slightly funky but adequate purfling job which looks fine on antiqued instruments. I usually recommend that beginners not get into antiquing until they can make a decent straight fiddle but you have kind of backed yourself into a corner on this one. Incidentally I think Xacto knives have no place in violin making. A sharp violin makers knife will do a better job of following the line of your marker and not jump as much when crossing the grain lines of the spruce. Good luck with this. I agree that you should go ahead and finish this instrument as best you can and then avoid repeating your mistakes on the next one. I also recommend getting Brian Derber's "Manual of violin making" and following his directions carefully. It is the one book I have seen which can help a beginner make a decent violin on the first attempt.
  5. Brad, Looks German Czech to me also. What did you see that makes you think Jackson Gulden?
  6. The standard knot used as a "stop" on logging and rigging ropes is a figure eight knot. I have little experience with gut strings but that is the knot I would try first. Easy to tie and very secure.
  7. Hi Joe. Precooking as in normal running of the resin or something else?
  8. Where is he? To me anything West of the Rockies is the same neighborhood.
  9. Does that mean it's time to rush to your bedside in case you spill the beans?
  10. They've got shots for that.
  11. The best way to join plates is the way which works best for you and takes the least time. For a beginner following the advice of one and only one successful maker and using their method until you have mastered it is probably the way to go. Brian Derber's book is probably the one book I have seen which I think a beginner working alone could follow and make a decent first instrument. My own experience with wooden planes is that I spent about an hour with a straight scraper tuning my Ulmia jointer plane 37 years ago and have not had to touch it since other than sharpening the blade and adjusting the depth of cut depending on the wood and the weather. I prefer to clamp my joints especially cellos and leave a barely visible catenaric lengthwise hollow which I inspect with a strong spot light held behind the joint. I have explained my procedure in detail in previous threads on this forum. The most important thing is to learn what the unglued and finished joints are supposed to look like. How you get there can be achieved in many ways. Pick one and go for it.
  12. Eric Meyer in Seattle area.
  13. Would like to read the article but when I click the link they want me to subscribe to something. Wazzup?
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