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Everything posted by JacksonMaberry

  1. My former sensei said that every surface, inside or out, ought to be scraped and burnished to a glass-like finish. I only do that on the outside, personally, but the above posters are certainly right that tearout it a weak point and should be avoided. Texture is one thing, tearout is another.
  2. Damn, I was too late. I'm sure you'll love the plane, regardless. I've heard nothing but good things. They are Chinese made, but like a lot of goods from over there the quality has reached a very high level
  3. Ernie, there is a domestic source for the CAG stainless planes that Cremona tools sells. I can't recall what it is, but I'm sure we can figure it out Also, Krasimir Bakardiev here in the US sells some nice bronze planes, flat and round. Message me for his email.
  4. Glad it worked out ok for you, Dean. My very best wishes going forward.
  5. Nope. On some classical cremonese instruments (del Gesu) you'll find toothed plane markings. It's okay to leave the inside of the ribs a little rough if you want.
  6. I knew a fellow when I was at Cambridge who was involved in research on growing organs for transplants. I was always begging him to get to work on growing me a new spine, knowing that someday it would be really nice to have a fresh one put in. Haven't heard from him in a while, I should probably check on his progress!
  7. I appreciate it, Don. Thanks as always for sharing your data and analysis. As for wood properties, weights, arching, and grads, I'm guessing that's the information that was available to the Ancients (although their wood properties info was probably more qualitative than quantitative) and the seemed to do pretty well with it.
  8. I can't help but wonder how anyone managed without regional EMC data and moisture meters.
  9. I think maybe even a present one, in that image. And a good thing, too. Somebody's gotta keep the restorers in business!
  10. Not much, unfortunately. Many schools have used locating pins. Some even insert false pins that do not enter the block.
  11. Technically, violin making is not a science. Realistically, it is a craft that sits at the intersection of many sciences - acoustics, chemistry, biology, etc. You may choose to approach it from a more or less rigorously scientific direction, as you see fit.
  12. Since we're sharing notes: I surface the "out" face of the ribs first - toothed blade in my adjustable mouth block plane, followed by high angle blade in the same plane to smooth out the tracks, followed by card scraper, followed by equisetum. I then raise the grain then burnish once more with equisetum. The surface at this point is almost glass smooth. Then I flip it over, depth drill to 1.2mm, and hog the material off with the toothed plane until the drill marks have disappeared. By this point, at the bottom of the tracks left by the teeth, the ribs are about 1mm thick. Ready to bend.
  13. The 1679 Stainer Hargrave wrote about shows the same pattern of rib tapering, interestingly.
  14. Speaking of bow planes, the best I've seen of late are the ones Jerry Pascewicz has made for his shop.
  15. So, so true. Better than nothing, but not the whole picture by any metric
  16. Of course, that seems reasonable. When you get a minute, read this: http://davidofsantabarbara.blogspot.com/2016/06/a-first-draft-imagining-how-to-make.html?m=1 If it interests you, read the rest of the blog. I don't do everything exactly as David describes, but several of his ideas have absolutely revolutionized the way I work.
  17. The problem with slavishly copying the arching and thicknesses from the Titian or another violin is that your wood is not going to have the same properties as Strad's wood for the Titian. It's better if you can understand the rules he used to develop the arch and then apply those rules to the wood you possess. If making great violins was nothing more than copying the exact shapes existing cremonese masterpieces, we could have all left this work to the machines long ago.
  18. The ring rasps look like they might be useful for hollowing a back? Weird.
  19. I'm sorry for the loss of your sensei, Andreas. He sounds like a remarkable fellow. Do you have any photos of him and his work to share in his memory?
  20. But it is present, as well as on Amatis, Stainers, and other instruments associated with the Cremona school
  21. Me too! I glue the belly first to a flat surface and then taper the ribs on the back only. It seems to make a difference, but I couldn't possibly prove it. It made sense when I was taught to do it that way, so I persist in doing it. One thing I've wondered about - in cremonese making as attested by Hargrave and others, the neck is glued to the garland early on, before either of the plates. If this is the case, you couldn't possibly taper the ribs on the belly side, unless you did it before the neck went on, because the neck would be in the way.
  22. Really good advice, thanks Mike! That sounds much more controllable than how I learned.