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Everything posted by Shunyata

  1. I only eat animals that eat vegetables. Does that make me vegan once-removed?
  2. Yep, glue scrapwood on the sides and plane/saw square. It gets carved away in the finished scroll.
  3. I bought that purfling marker for my first build and had the same experience. Live and learn. Regrinding to a single bevel and shimming is the way to go if you keep that tool. The Ibex marker shown above is better quality and more stable. That is what I switched to. Agree to ditch the Xacto knife. I use a fine blade carving knife by Swiss Made. I find this easier than a traditional violin knife. (Although I have meaning to try the Hock violin knife blades.)
  4. Thank you all. I have been fitting constant diameter pegs myself. But the different hole diameters bothered my sensibilities and I began to question myself. I will proceed with confidence!
  5. I am embarrassed to ask, but here goes. When fitting pegs to a new, unreamed pegbox do you... 1. Make all of the reamed holes the same diameter and shave pegs to fit. 2. Shave all of the pegs to the same diameter and ream the holes to fit. 3. Somewhere in between based upon some consideration. Finally, does anyone have guidance on the appropriate diameters for the different pegs or holes?
  6. I appreciate the sensibility of using a knife for cutting feet - for the sharpness of the work. But the top deforms under string load. It seems like any fitting precision would go out the window at that point. Could sandpaper - which results in a larger radius of curvature - actually be more accurate under string load? Asking as a question, not expressing an opinion. Maybe my question belies some ignorance about the process. Myself, I use sandpaper to get in the neighborhood, then finish with a knife.
  7. I have used the Stanley 9.5" block plane, but find a No.5 plane easier to work with... the extra length helps keep the cut even all the way to the end of the board. In either case a flat sole, razor-sharp blade, and fine cut are essential. I use the face-to-face in a vice approach. I will "rough level" the faces if they are notably warped or out of flat... but save full leveling until the end. Getting a good joint takes about 10 minutes, with most of that time spent finessing the flatness of the joint, especially at the ends of the board. I can't imagine planing each piece individually and getting a good joint
  8. Has anyone looked at how edge thickness affects free plate mode frequencies? Seems like thicker edges would increase free plate frequency, but this impact would largely disappear once the plates were attached. (The ribs REALLY stiffen the plate edges!) Similarly purfling choices might impact edge stiffness and frequencies.
  9. That is interesting, Don. I have been slavishly keeping an exact overhang everywhere.
  10. Davide wrote... "I also agree that the circles used for the blocks in modern works are often too curved, it is also very typical of students and novice luthiers who inexorably tend to dig too much into the center of the block. Taking control of this aspect, even if at first glance it may seem trivial, is not at all easy and obvious." That made me feel better... I certainly haven't found it trivial or easy! But I am eager to learn!!!
  11. Thank you Mr. Darnton! My radii are definitely tighter than 32mm on the C bout side. This is the source of my problem.
  12. It is the second case... the ribs become too curved, particularly the lower points. And generally the upper and lower points curve toward each other a bit much (a couple mm point to point). I can see that flattening the curvature in the drawing/template would help. I was hoping there was a systematic way to figure out the right curvature.
  13. I know what shape I want the finished rib points to have. But I am struggling with how to cut the corner blocks so that the ribs have the targeted shape after bending and gluing to the corner blocks. I always seem to wind up "pointier" than I intended. Obviously trial and error will eventually get it right. But I am wondering if anyone has a systematic approach they use for managing this problem. Given a target finished profile, how should I lay out the template for cutting the blocks?
  14. I have excellent luck with 1" sponge applicators for the larger areas. But I use squirrel hair "mop" brushes (of assorted sizes) for the neck, scroll, edges, etc. You need a good brush to control flow in these areas. And don't go cheap on brushes. False economy is no economy at all.
  15. I think cleavers (a common edible weed) would be an interesting fine abrasive. The silica content is quite high, but the fiber content is relatively low. I imagine you could easily create an abrasive paste or powder from cleavers.
  16. My shop is in the basement, which came with cream yellow walls when I bought the house. Works very nicely to mellow LED lighting. I am moving to a new house in the nest few days (I feel your pain about trying to sell and repurchase in this crazy market!) and plan to paint the sane color in my new (bigger) basement shop.
  17. Danish String Quartet... especially the Woodworks album. Anything Bonnie Rideout... especially her pibroch recordings. Anything Tony Rice... especially the Manzanita album.
  18. A 22" is too large to have good control on such a small piece. My 17" works well. I bandsaw or table saw to get a straight, right angle cut... Then go to work With the plane. Adjust to a very fine bite on your cut... you are truing up, not hogging material. Pay close attention with a straight edge to see if you are overcutting the board ends and adjust you plane strokes accordingly. When no light comes through the straight edge check, unclamp your boards and check them... They will be perfect.
  19. Before taking any action I am "taking notes" to better understand what is happening with the instrument. The last few days the G/G# wolf has virtually disappeared - although that range isnt the sweetest on the violin. At the same time the B wolf has intensified, to a wobbly but useable note. Humidity is lower lately.
  20. I am using plastic tailgut... and a Wittner style tailpiece, which I don't usually use. The tail piece seemed kind of long to me, with almost no exposed tailgut past the saddle to get 54mm string afterlength. Maybe a shorter tailpiece would be in order?
  21. Do you think a slightly long neck might contribute to the issue? I followed the Johnson and Courtnall bass bar dimensions. The graduations were thinner than I usually do... 2.1mm to 2.2mm in the lungs, in an effort to get the weight down to a reasonable level.
  22. My latest build has been regularly played for about 4 weeks. It has two wolves, one between near G (on the G string, one octave up from open string) and the other at B nat just above. That whole range doesn't speak very well. Both wolves seem to have developed over time. No wolves on the other strings. In general the Gs and B-Cs throughout the violin have extremely rich color - I am guessing related to the wolves. Any suggestions for construction or setup for managing the wolves... although the rest of the violin sounds so nice I am tempted just to learn to live with it.
  23. You should be able to get something nice for 5K... and only give up 2.5K if you trade it up for a 20K violin later. At age 11 there are a lot of distractions yet to be discovered (young girls entering junior high is every parent's tribulation - voice of experience speaking). I wouldn't spend more than 5K just yet.
  24. Oohhh! A Menger Sponge fractal bridge. I like it!!!! Just think of the complex vibration frequencies enabled by a the fractal dimension of the sponge!
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