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Mark Norfleet

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  1. Unless the player is willing to bring it to you on a regular basis to have the protection maintained or replaced, I wouldn’t bother.
  2. Thanks. This has been a big problem that I've been trying to figure out how to avoid, in addition to finding wood from trees that did just the right amount of thinking...
  3. I agree with Mr. Darnton. Making a new rib is much less problematic and will very likely produce a better result, especially in inexperienced hands.
  4. Not that I've seen. And most, if not all, folks imitating early neck attachments use screws ( stainless steel please!) as it is more secure if done well and offers more flexibility during making or later alteration.
  5. Jerry isn’t participating here these days. He might have a few of those planes left, which are very nice! I bought some from him last year.
  6. Agreed. I previously mentioned, that the plane I use for finishing the sides and playing surfaces of fingerboards has a blade sharpened to a pretty obtuse angle. I had never measured it until today though. The angle between the sole of that plane (behind the blade) and the upward facing bevel is 75 degrees. This has worked very well for me.
  7. Some make grooves, some ripples, many do both. I can often tell when a client has had a child as the rate of wear drops dramatically...
  8. I didn't use any particular formula for this and it's probably been 8-10 years since I did the shaping on this plane. I simply modified it by eye to the amount of curvature I thought would work from experience, and it did.
  9. This is why I’ve not made a 7 string viol in decades…
  10. I’ll measure mine later today, but the thing to do is put a straight edge the same length as your plane on a FB with an amount of scoop you like and see how much gap there is in the middle. It’s not much… And now we can talk about variable radius scoops and the various methods used to achieve them…
  11. Like @Davide Sora it's not my favorite job either, and I'm allergic to ebony. It's essential to have a fingerboard surface in good condition to have an instrument work and sound it's best so I wind up planing fingerboards more often than I would like to before doing sound adjusting. Having a dedicated plane with a convex sole for the concave surfaces of fingerboards does save me a lot of time over doing the same work with a flat plane as I used to do. Apart from having the sole of the plane being curved, as I previously mentioned, I sharpen the iron frequently and the effective cutting angle is quite obtuse. The only time I get anything close to tear out on ebony is when there is the center of a knot on the surface of a fingerboard. I take fine enough cuts in the final stages of planing that I often think I could just leave them as is and no one would notice. I do however sand briefly with 180, and 220 grit paper and not the 120 I used to start with.
  12. I'm guessing that you're using the word "need" as a relative term, which I generally don't. I've no doubt there have been plenty of people who just read that with hundreds of years of collective experience who just rolled their eyes. Sure, a slow speed liquid cooled grinder is a good idea and preferred, especially for PM, but it is by no means "needed".
  13. I've not tried the PM-V11 blades yet as I didn't know they were available, but will order some today. Sharpening is key. As for planes, I have Record/Stanley planes sitting in my toolbox, but rarely take them out to do anything, maybe every few years if I need to plane a door or something else rough and dirty and I don't want to risk my Lie- Nielsen soles. I have two low angle versions and that's all I use for block planes. The one with a flat sole does nearly everything for me with the blade ground and honed normally. For FB playing surfaces and sides I have one modified to pretty much automatically cut the desired concavity. That plane iron has a pretty obtuse bevel and I've not run across a fingerboard in decades of use that I couldn't plane very cleanly with it. For finish planing I take super light cuts with a freshly sharpened iron and do VERY little sanding. I cut the bevel with a 1200 grit diamond wheel and take the burr of the flat side with an 8000 grit King stone, both of which are very quick. On the dedicated FB plane, I do most of the bevel grinding with a regular bench grinder at a normal-ish angle a few times per year. The not quite so micro-bevel is honed every time I plane a fingerboard, sometimes 2-3 times during a cello fingerboard if it needs a lot of work. I simply find the Lie Nielsen planes far more comfortable to use than the iron Stanley/Record straight sided styles.
  14. I do remember a traveling violin@David Burgess made which was good for disrupting parties and meetings…
  15. I think we need more information on what sort of travels you plan to do and what you'll be exposing the instrument to and whether you'll consider it disposable... One of my customers goes on extended vacations with her parents and often needs to be able to practice while doing so to be ready for auditions etc when she returns home. She bought a Lewis & Clark cello, which I was able to adjust to work pretty well. This was of course just for fun, and not a serious practice session... https://youtu.be/-srL_OAe7oc
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