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About J.DiLisio

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  1. Perhaps you could share some photos that highlight the arching and the grads you ended up with. What models are you using? I've gotten boomy sounding instruments with thinner grads.
  2. These are half-templates I copied from Roger Hargrave’s article in the DG book back when I had access to a laser cutter. They’re pretty universal, I just keep track of the distance from the edge that matches the arching I’m copying. In the case of the Cannone arching they are consistent.
  3. High flames and homebrew purfling..
  4. It's really just a motorized lazy susan at the moment. One day I hope to add an arm so it can make some noise.
  5. Wow, I hadn't even considered the possibility of making nails. I was looking into getting some handmade nails a while back and I wasn't able to find any that were the same shape as the nails from Cremonese necks. I ended up just getting a box of 1" cast replicas from Rockler.. https://www.rockler.com/wrought-head-nails-wrought-head-nails?country=US&sid=V91040&promo=shopping&utm_source=google&utm_medium=cpc&utm_term=&utm_content=&utm_campaign=PL&gclid=CjwKCAjwx6WDBhBQEiwA_dP8rbYpdTmCNabP86p-iSGg_eHUcWpALmZAKrSEv0pfHVwF-Ab08mtFtBoCBhEQAvD_BwE
  6. My first fiddle of 2021 slowly coming together.. This is the most deeply figured wood I’ve worked with so far and it’s a real pain to carve. I ended up having to finish the back with scrapers, something I’ve been avoiding on the last couple. It’s another thick del Gesu model, 7mm at it’s thickest. Another woodworking project I’ve been obsessing over is a walnut plinth for my recently acquired vintage turntable.. Unlike an instrument, the aim is to go as heavy as possible and to kill resonances so this one has stacked plywood on the inside and solid walnut outsid
  7. I just noticed there is a nice set of arching photos of the 1725-1730 Enescu, Cathedral, Menuhin del Gesu on Tarisio that provide a clear example of the edge, scoop, and rise being worked well while the central area is left more or less flat. https://tarisio.com/cozio-archive/property/?ID=49610 It's possibly just a less refined early work but it seems to support the method Michael suggests.
  8. That looks great! I really like the antiqued texture over the inlays on the back.
  9. You can tell it's not the work of a master because they forgot to paint the stripes on the back.
  10. I've just done a couple now and with the nails I'm using (square tapered shaft faux blacksmith nails) you definitely need to drill first or the spruce block would split as you're nailing with the grain. Also, because of the taper you can have a smaller/tighter hole into the neck which helps bite the maple. That's my experience at least. I'm interested to hear what the experts have to say.
  11. Nicely done, now you need to carve little paws for the corners.
  12. Peter Westerlund uses a sans-template method that, according to him, naturally leads to the typical long arch shapes of the top and back. It seems plausible that this method could have been used in Cremona,. who knows, maybe that explains the lack of any surviving templates.
  13. Cool,. you could probably also use it to project a grid or parallel lines to help visualize the arching.
  14. Are you thinking just strips or shapes like the decorated Strads? You probably won't find many decorated instruments in orchestras but fiddlers love the bling.