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About Shunyata

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  1. Not an expert but I can tell you what I do. Use positioning marks as noted above, leave garland in the mould until the very end so I am sure of shape, and use tack gluing to hold plates in place when needed. Not elegant but it works. I am just now working on my first violin using pins. Certainly is easier.
  2. That has to be the largest scroll I have ever seen!
  3. This is the bench I made. It is about 250lbs. It has zero give/flex/wracking under any kind of load. I think it would also make a good storm shelter. Cost a couple hundred dollars to make.
  4. "...will only work if your plane is flat." Amen, brother!
  5. Reduce the cut on your plane to the barest shaving - even finer than you think possible. It will go slow but smoothly, and give you a very accurate surface for joining. Helps to use a larger plane like a No. 5. Never had much luck getting a good joint with a smaller plane.
  6. I have made new instruments before so I understand the basic process. My main concern was not damaging the neck.
  7. I need to fit a new fingerboard I need violin where the previous finger board is completely missing. Do you have any suggestions for how to shape the new fingerboard blank, to the existing neck without damaging the neck?
  8. Garage works great. My father is a fine furniture maker and has a lumber rack on one wall of his garage full of thousands of board feet of every hardwood you can imagine. He even lets me pilfer now and then.
  9. I grew up where this documentary was filmed around Laurelville, OH - pretty sure my sister was in school with Danny Houck. Tony Ellis lives down this way too. The poverty and living conditions are real. And from what I understand Danny is actually a talented maker. I think the trials and tribulations were exaggerated for dramatic effect. I guarantee you he could find a joiner closer than driving all the way up to Stearns shop in Hartville, OH, a good three hours away!
  10. Thank you all for the kind and helpful suggestions. The rasp idea looks amazing! I never thought of that! I have other Iwasaki grasps and the do cut glass-smooth!
  11. I am an inexperienced but enthusiastic beginner. I have a question about carving the shallow trough at the plate edge after you put the purfling in. On the maple back, carving across the flames results in chip out. On the spruce top, carving across the exposed end grain at the top and bottom of the plate leaves a messy surface. Any tips?
  12. I completely understand your point, Nik. My great grandfather and grandfather made fiddles, quite literally in the middle of the kitchen. My great aunt, my grandfather's younger sister wrote me to me about her memory of them bending ribs over a pan of boiling water and weaving them through a pattern of nails to hold their shape while they cooled. She was allowed to watch, but never touch. She wrote of whittling the scroll with a knife. I am amazed at what they achieved with so little - and more than a little curious about the unconventional methods. She also wrote about the "kitchen sweats" that happened every Saturday - a bunch of neighbors fiddling and dancing the night away while the younger kids laid in bed and listened to the music. My aunt was thrilled when she turned 10 and was old enough to join in. ...better times.
  13. Sound post first, and follow the good advice given here. (Just dont try to force fit a post that is too long.) You may wind up doing it over many times, but you will learn! Ignore those commenters who have unkindly forgotten their own learning journey.
  14. There seems to be a tongue-in-cheek practice of bashing Viola construction and violas in general on this site. I think there's an inside joke there that I don't understand. Can somebody explain?