Ken_N

Members
  • Content Count

    1895
  • Joined

  • Last visited

  • Days Won

    2

About Ken_N

  • Rank
    Member
  • Birthday 06/20/1955

Profile Information

  • Gender
    Male
  • Location
    Goodrich, Michigan
  • Interests
    Violin making. Art (just got some oil paints, been doing water color). Driving the back roads. Music, especially orchestral and Christian rock.

Recent Profile Visitors

6147 profile views
  1. Hi Anders, the wood is very well quartered for the most part. The treble side is almost perfect, the lower bout on the bass side flips almost sideways right at the end; until the last 1/2 inch it is perpendicular. I don't think that edge is going to matter at all. I'm not worried about it, but then again, I don't worry about ANYTHING, so that doesn't mean much! The wood is very stiff, and the arching is very strong. The numbers on the poster were all pretty thin, not for this model, this I just got from a calendar that was in The Strad from Hans Weisshaar violins. The same model was used
  2. I just finished a top with .45sg wood, Port Orford Cedar. It ended up at 66 grams, complete with bass bar. It is thin, 2-2.5 in the bouts, 2.5 -maybe 3 in the middle. The edges are maybe 2.5. It's a Maggini, but it is a different one than the poster I have, but the thicknesses on the poster are similar. It is a little longer, but it isn't any wider. It is 366mm long, but the stop is 195. I don't tune with tap tones, I get the inside arch where I want it, and get the outside to be even when tapping it in sections that are blocked off with my fingers. It usually gets it fairly even, but you
  3. I put have the strings on the guitar, and up to pitch; they are still stretching. When I did it on Thursday, the bridge broke off. Nice clean break, no wood. It is a tiny bridge. I used thin 195 high clarity. Re-glued with 315. Worked. I need to figure out fret diameters that will work, and order some string. I switched the tuners up on the first and last pairs so the strings aren't rubbing so much. Seems better to me.
  4. I've made a couple sycamore violins. The piece I had was very resonant wood. But then I've seen guitar makers using OAK. What's up with that? The two sound pretty good. Like violins. I had no problem with dust, but the walnut one I'm finishing didn't bother me either, and some people have trouble with that. The ribs bend easy, (hot) and I even use it for my linings, because with the interlocked grain they don't snap! I couldn't get spruce to bend at all. The grain shifts. The specks will go one direction, and the rays in the other. So you have to watch sometimes when you are plan
  5. Thanks about the binding. I used my homemade purfling cutters that actually cut, not just mark. The long one is set up there for the binding width, and the purfling depth. I like the screwed on cutter better, but the sliding adjustment is more flexible than shims. The blade just falls out sometimes! It has a 540 scale, so it SHOULD work in G. Using the calculator on Gamut strings, a medium set should give 4.5/3.4/3.4/3.0/3.0 kgs per string. So about 75 pounds total. I have a plan for a Voboam guitar in E with a 635 scale, and it comes out to 4.5/3.4/3.3/2.9/2.9 with mediums. S
  6. Thanks Jim, I still need to order strings and fret gut too. That is by FAR the most expensive part of the project. I've never even spent $200 on a piece of wood! But I do want to find a new back and sides for a cello, so we'll see about that.
  7. I've been working on getting the violin and guitar ready for varnish. The guitar is easier. I want to get a seal coat on it before I glue on the mustache. It is not the usual frilly thing. By now you know I'm not one for doing things the usual way. Yesterday the Bible verses started disappearing from my posts. First the newest ones, then the older ones. All 3100+ They were still there online. Today they are gone online as well. Don't you LOVE it when you are censored, and they don't even tell you? How nice. My writing is still there, but the verses are all gone. The title is the
  8. For a second instrument with no mentor/teacher for guidance; I'd say that you hit it out of the park. Your scroll and pegbox look nice; the nut and saddle look smooth and even; the arching is hard to see, but I like the way that the f holes look on it. Your overhangs are better than most of what I've done. I might have one out of 10 that isn't terrible. Even leaving them big, to smooth up after gluing the ribs, it ends up not fitting right somewhere. Maybe the corners could be better, but couldn't most of them be better. It seems like corners really take a lot of thinking about to g
  9. Well D. A. T. I'd like to be the first to welcome you to maestronet. For a "non professional" you show a lot of skill around the workbench. How much experience do you have? Have you had the chance to work with input from others, or with a mentor of some kind? Do you have access to nice instruments? All of those things seem like they would contribute to developing a sense of what you really want to accomplish. I watched your video this morning, and it is very well done. I really enjoyed it. The music is great, and doing it in black and white ties it together more. I'm sure that
  10. For violins, the Lie Nielsen 100.5 convex sole plane works nice.
  11. Well the barn wood top is scrapped. I filled the dark lines with wood patches, and then it started splitting where there were no dark lines. A thin wedge off a wedge of Bear Claw Sitka cut into three pieces; the outside has worm holes; is going to work just fine. I have the rosette in it now, and I'm just going to use two harmonic bars like the original. I have no bracing at all on the back, and very small linings. It shouldn't be long before it is all glued up, and ready for binding. I noticed that the Aquilla set of strings has a wound low A. That sounds like a bad idea. Why wou
  12. Your work, is always so clean. I guess everyones is compared to mine! I haven't made a shouldered pegbox yet. I always read people complaining about them. Who needs that? I haven't seen a cello without one, so what's the problem? I like your pegs. I'm going to start on ten today for the little baroque that I'm making. Your guitar came out great. I noticed that you made ebony frets. I was just looking up fret gut. YIKES. They can set you back $75-$100! I don't mind paying that for strings, but frets? The wooden frets are starting to sound interesting. I sure can't use met
  13. Now that is really nice Thomas! I'm not an antique look guy either, but that one looks good. The color and texture are just right. I always wondered about the double wear from the chin on both sides. If someone held it under the chin at the treble bout, wouldn't they do that all the time? Every instrument had people playing them both ways? Was some of the antiquing done from the get go? They did both sides for some sense of symmetry? I think that maybe antiquing in the beginning might not be a new thing. But like a sunburst on a guitar, it is often hard to pull off. The
  14. His work is already FAR CLEANER than anything that I've ever done. I think I've done something halfway decent, and a photo proves that it is garbage. Even with the 5X magnifier! I don't think that I've seen any of my 4 grandsons ever have enough patience for something like making an instrument. Goofing off with Legos, and video games; yes. Serious art and craft? No.
  15. I see that spell check changed dummy to yummy on the last post. Thanks guys. I did use a wedge shaped to the fingerboard angle and thickness to set the neck. I also had a strip of wood, pointed on the end, and marked at the stop length to set the projection. It worked great. It's all glued together; and I realized that I don't have and purfling. I don't have strings for it, or the baroque guitar, so I have to buy some things. I looked up nylon strings for the guitar, but they seem to have 1 or two wound strings. I don't want wound strings on it; they shouldn't be needed. The gu