BenPearce

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About BenPearce

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    Junior Member

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  • Website URL
    www.violinarching.com

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  • Gender
    Male
  • Location
    Cambridge, MA
  • Interests
    Collaboration, Carving, CNC, Chisels, Documentation, Analysis, Fabrication, ...

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  1. Those look like pretty aggressive chip loads to me, esp if you are shooting for a nice surface. I have tried numerous defaults within Fusion and find they almost always run better at half chip-load while still cutting nicely. Some of the aggressive Feeds and Speeds can be great for hogging, but no good for "finishing" passes. As mentioned by others, it can be much more informative tweaking both the feed rate and spindle speed while running test cuts (or even the real thing at a higher Z), as it accounts for machine resonances and other factors outside of the chart.
  2. Primarily violin and mandolin family instruments. Some germane, if a little outdated, work can be found here.
  3. Hi Scordatura, that's a pretty broad question, but everything from Creo and 3DSMAx to Illustrator and end/ballmills ranging from 0.008" to 2.000"in diameter.
  4. Hi there. I've got lots. Feel free to reach out if there is something more specific you are interested in. Best, Ben
  5. Thanks Carl, It's a good little plane. I made a few others with differing soles. It may be time to learn more about steel tempering.....
  6. If the technology is refined to the point of precisely machining splinters, why would one want to limit its application to restoration?
  7. That's a great use of 3d printing. Jigs and fixtures seem to be the way. I had some tiny finger planes printed from wax and cast from the wax files a few years ago. They came out great with very high precision dimensions though they did require a bit of cleanup. Certainly not something I could have done 10 years ago.
  8. Just to add to HoGo's post, CAD/CAM can be used for so many other purposes that are extremely relevant to violin making. For example below is visualization tool showing the difference between a pretty serious soundpost distortion as measured and a corrected symmetrical version based on the cinque sections. These tools allow for a more circumspect view of how these instruments age over centuries and some of the original intent behind their geometries.
  9. I think this logic confuses and maligns the intent of the maker. The reason to not make 1k violin plates the same is that it discards nearly all of the critical thinking around process, material selection, craft and decision making that goes into making each instrument the best instrument it can possibly be. Even cavemen purposefully used tools available and made newer and better ones.
  10. As someone who uses a CNC machine to perform apprentice services for a multitude of violin and guitar makers, I find a lot to agree with in this thread that can be boiled down to one thing: well-managed expectations. If the goal is to save one's shoulders roughing out cello backs, then the bar for entry can be quite low (though the cost of error quite high!), but if the goal is a reproduction of very specific geometries, the magnitude of the task changes quickly. To an astonishing degree, the machines can cut exactly what you tell them, but the operations and fixturing of a machine are complex and many. Just like we need a variety of sharp gouges, planes, and scrapers (along with the knowledge of how to sharpen them), to refine just the carving aspect of building, CNC milling requires computation, drawing/modeling, fixturing, and mechanical skills to even get off of the ground. Unfortunately, the idea of CNC machine as panacea is more often a misconception than not, but with well-calibrated expectations and commitment to learning and growing with it as a tool, the results can be compelling.