H.R.Fisher

I am interested in understanding the tonal effects of various weights, heights ,shape and position of the base bar. Thank you in advance for your responses. Henry

I use a jointer with spiral cutting blades. It does an excellent job even on hard curly maple. The down side is they are very expensive. I am fortunate to have access to my sons jointer at his cabinet shop.

Looks like you have lots of creative and artistic talent. It is certainly apparent you have the inherent skills to excel in violin making. However you may find it somewhat frustrating because of the constraints required in violin making. The parameters are quite restricted and the self expression is very limited. Being able to emulate the classic masters seems to be the aspiration of most contemporary makers. I'm not suggesting you have to confine yourself to that but to become recognized in today's violin making community one must acquiesce to the status quo. The best to you; Henry

International violin has it's lowest grade at 19.00. You can't get it much better than that.

??? please elaborate.

What are some methods used to finish sound hole edges.Or what is considered proper in contemporary violin making.I prefer the dry, dark charcoal look. Is this an acceptable finish and if so, how is this accomplished? Thanks in advance for your responses, Henry

Fit the SP first. It's good if you can look through the end pin hole to see how the post is fitting.

Am I understanding this statement correctly? Are you suggesting that to build a violin with an award winning tone it can only be accomplished with top quality tone wood? This is really the question at the core of my original post.

I am curious as to how much the selection of tone wood is attributed to the sound of an instrument.I'm especially referring to the choice of the spruce top. I am aware that there are multiple pieces,parts and methods that contribute to the final tone. Considering all things being equal how much of the pie would be attributed to the choice of wood? Thanks, Henry

I am only assuming it's too thin because the area vibrates excessively when the open note is bowed. When I put a finger on the spot it quiets down. Are you suggesting there may be another cause?

What is the method used to correct a too thin area on a spruce top. The violin in consideration has an area on the lower left bout that is super activated when playing the open A causing an unusual loud unpleasant sound. I am thinking of building it up with layers of hide glue and saw dust. What are the recommended solutions. Thanks in advance, Henry

Very nice! Good to see other amateurs like myself being brave enough to post their work o MN.

Contact me at hrfisherviolins.com I have a Brian Derber Book you can have at a discounted price

My first attempt at antiquing:

My 2018 projects: