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aleron

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  1. Thank you all. I think I may try to straighten as a first option. I was thinking I might - Dampen the rib side - Clamp on a flat board for a week or two. I'm quite fond of the flame on the back, so it's worth saving if I can. I'm thinking the temperature and perhaps humidity in my shed-workshop may have been the culprit. It's summer in Australia currently and it has been a very wet season where I live. I thought being quarter-sawn and well seasoned that this would not cause too many problems safely tucked away on my bench, but 'you live, you learn' I guess. Cheers
  2. Thanks for your reply. Yes you are correct, with your first example, risk is edges would need to be planed down. I will measure and see if I have adequate edge height should planing be necessary... Wood is well seasoned (I've owned it 5 years, but was seasoned before I bought it) so I was surprised and disappointed by the movement... I'm sure it wouldn't take much to glue down once carved, but I'm not sure about the inherent stresses if I did... I suppose there is no guarantee there won't be further movement as I carve it too, but I guess not much I can do about it at that point...
  3. Hi All I'm just up to carving my belly and back. I've glued together and flattened boards. I've then had too leave them a week or two. upon my return they've bowed a little and are no longer flat (maybe 2-3mm)... I remember reading somewhere that once flattened initially don't be tempted to re-flatten. My question to the more experienced makers is: would you re-flatten before carving? Or disregard this as it is a battle I'm not likely to win and all will be fine when glued to the garland? Thanks again
  4. Thank you all for your input... I totally agree that practice with different ideas is the best however you're answers give me a good idea of where to start... I did a back centre joint yesterday and heated up to about 72degrees are you have suggested David. It worked very well and I had more time to work with my rub joint and clamping. Much more successful than my belly joint which was applied when about 65degrees. I think I have been gelling too quickly as you suggest, which leads to construction panic and rushing!
  5. Hi All I was wondering if some of the more experienced makers may like to contribute to a quick guide to their glue techniques... I know there are a million posts regarding glue on here and all are valuable sources of information, however I note some variance and conflicting approaches or are limited to one action. As a beginner I'm comfortable with woodworking and take my time to cut/carve with as much accuracy as I can, but when it comes to glue, I'm all thumbs! To keep it simple, I thought I'd ask for your recipes for different parts so I can at least start on the right foot... I thought the below table might help me and other if you would be so kind to contribute Job ------ Gram strength ------ Glue :water ratio (by weight) ------ Temp on application --------Note: e.g Blocks to form ------- 192g ---------- 1:2.75 ------------- 62degrees--------- medium thickness gels between fingers test 40sec Ribs to sides Glue sizing end grain Joining belly & back centre Joining belly back to garland Setting neck I'm assuming all glueing will follow the basic principles of soak for a couple of hours and heat for a couple of hours no more than 62degrees to get ready for use. I've noticed a handful of very experienced makers suggesting temperatures up to 75degrees however glue guides suggest this is too high. Can you explain if this is the case or when this is fine? Thank you once again all.
  6. Thank you all. And thank you for the offer charliemaine Those two pictures are the same blank... The top pictue is where is cut through to split blank with the intension of book matching this as the top (outside)... Picture with the outline (drawn by the supplier not me) Would therefore be the bottom (carved out)... At least that was my plan when i started. Is the timber really that bad? Color looks nice and even where I've cut, and I'm yet to clean up the saw marks etc. I think it's a good point I'll measure to see how far I can move under the neck and thereby hide them should they not disappear or need patching... Yes, it's my first build, but ribs have come out brilliantly (at least I think so) so I want to try and finsih as well as I possibly can rather than just get in the practice in on a rough first violin. But I understand you need to crawl before you can walk, so I'm thinking I might proceed with this belly in the hope it works well when I'm done... If not I'll get another and be all the better for the practice. I appreciate all the input and help Cheers
  7. ... I'm sure he was reasonably competent as a maker... It's me I'm concerned about... But I take your advice and will do a bit of research regarding this. Thank you for your input
  8. And I guess another question is should I worry about book matching top plate or is this not done/necessary? Should I just go with picture 2 and carve out the book matched inside?
  9. Thank you. You are right, I need to measure to see if I can remover these entirely and have enough left for shaping.... Just wasn't sure if I should ignore at this stage and carry on carving. Is patching any sap marks when finished a genuine option? or to be avoided. For proper book match, the marks will be on the top, not the bottom to be carved out. The alternate picture with the stamp are the outsides of the slab, so won't be a match. I a'm right in thinking I should try for the book match am I not? Thanks for your answers. I appreciate the input...
  10. Hell All I'm making my first violin and spilt the blank I had for my belly today, hoping to book match the split as the top. To my annoyance, there is one fine sap inclusion near the middle... I have planed a little to see if it disappears, but it has a bit of depth to it ... I plan on taking measurements to see how low I can plane before I need to stop or remove width back to the inclusion if there is enough height left... My question to the more experienced is.... what would you do? - Try and remove (hopefully leaving enough height for shaping? - Use the other non-book-matched side as my outside? - Other suggestions on how to solve? I' hoping in shaping I don't uncover any more Many thanks
  11. I'm going to make up a acrylic poster frame to keep my strad poster clean and straight while I build my first Violin. My question is are all violin posters the same size? If I buy a different poster in the future, I would hope my frame will be able to be used again. I've got the Strad Titian Poster, which is approx 850mm x 690mm Thanks
  12. aleron

    Scraper tips

    Hi all, So, I've finished my form and added my blocks. Time to start thicknessing my ribs... I'm interested in tips or recommendations on setting up a really sharp Scraper. It seems like one of the most important tools in violin making, but I'm having trouble achieving a sharp Scraper. There appears to be a number of ways to set up on the internet and I'm not sure if I'm doing it wrong. Any ideas, tips or links to what you consider the best way to do it would be appreciated. Cheers
  13. Could I get advise as to how to best prepare scrapers for violin making? both flat and curved, small and large and any techniques for the finest of finishes. Thanks in advance
  14. Could I get some info on chalk fitting basics. In particular, how heavy handed to be with the chalk, and how to remove it when finished so as not to leave a white shadow or residue. I wasn't sure whether I would clean with a damp cloth, but was concerned this might raise the grain and defeat the purpose of fitting well... Thank you
  15. aleron

    glue sizing

    After some tips for glue sizing. Where does it need to be done? and how to prepare and apply successfully? Cheers
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