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Everything posted by Shunyata

  1. For digging the volute more, it sounds like your cutting direction is starting to become more tangential... following the curve of the spiral. (My cuts in the very top picture are radial, cutting from the edge toward the eye.) Do I understand you correctly?
  2. Amusingly, I am working on a Del Gesu copy right now.
  3. Yes... the sides of the volute, not the fluting.
  4. I cut the flat spiral first using a saw, then undercut (as described above) and save the outer fluting for last. But I use gouges for all of the outside fluting. I am interested in hearing how others handle undercutting. We have several votes for radial cuts. Any other techniques?
  5. The Madder Rosinate was the biggest offender. But shortening the time between coats seemed to mostly resolve the issue. Maybe some melting of the previous coats helps.with adhesion. My results looked like the OP, and I can't imagine any silicone contamination in my shop. It is a long way from the laundry room and fabric softeners. :-)
  6. I bought from violinvarnishitaly.com
  7. I have had that issue too, especially with certain batches (purchased) of varnish. More or less solvent didnt seem to matter in my case. I found that thin layers and especially not letting the varnish harden too much between coats solved the problem reliably. I have no idea what the explanation is.
  8. I shape the channel by cutting radially, starting from the outside edge and cutting toward the eye. It sounds like you are cutting around the circumference, following the shape of the circle. Is that right?
  9. In this picture you see that the spiral channel around the volute is much deeper cut and forms a U-shaped trough. I want to be able to do that.
  10. My undercuts are relatively flat as shown in the picture. And with this shape, chamfering has to be very light or it doesn't look good. I would like to aim for a much deeper undercut like you see on Markies or French instruments. But I don't really have a feel for how to do this. Does anyone have a general suggestions for technique other than get in and try? I plan to carve a bar of soap to get a feel for the geometry. But dealing with the grain and fine details carries its own challenges.
  11. Thank you for your encouragement GoPractice. My rehairing efforts have been more the result of desperation than motivation. I moved, my new location is 3hrs from a good luthier, and my good bow had become unplayable. I figured that if I had the patience and attention to build a good violin then I could learn to rehair. I got some great pointers from this forum, bought inexpensive hair and a $20 bow to practice on, and measured my work against my bows that were professionally haired. I quickly found that subtleties matter a lot (just like violin making) and it took more than a dozen tries until I was happy that my work was sufficient. The YouTube videos by Nehr were extremely instructive - as was having professional work to compare against. Then when I switched to my good bow and good hair there were a few new things to learn. Now I am very pleased with my work. As a bonus (as word has gotten out about a local, amateur luthier) my circle of string playing friends (friends in need are friends indeed :-) ) has been dramatically increasing.
  12. Use a little carnauba paste to polish the neck wood. You can buy this as a wood polish. Stay away from automotive carnauba waxes as they can have soaps or solvents in them.
  13. Being an engineer by profession, I started with a quantitative bent toward violin making. There are a few first order principles (<65g, not too thin in a couple critical areas, etc.) that make a huge difference. Past that, the nuances of each individual piece of wood become significant factors and experience is essential for assessing and responding to those nuances. One thing I had to let go of is the notion that wood or plates should "ring". Indeed, violins are not bells!
  14. Thank you Mr. Darnton! So my observations are not pure poppycock! What is the effect of finer versus coarser hair. You would tend to have more fine hairs with less tension on each hair, but cross section on each hair is smaller so they would still be very "springy" under the lower tension.
  15. No comments on bow hair impact on tone? I have never known the forum to be so reticent... even if only to point out that the question is ill-posed.
  16. Also, I would be interested in comments about the impact of hair thickness on tone.
  17. So I have been working on learning to rehair. I quickly go the technique down for shaping plugs and wedges, (Merci beaucoup Mssr. Nehr.) straight hair and a flat ribbon. Getting the amount of hair and hair length took a little longer. I had the opportunity to play on several different hairings in short succession. What I think I learned... Bow hairing has a HUGE impact on how your violin sounds. Lower hair (about 8mm in the hair guage, 5g+) amounts give your violin a very crisp tone, and you have to be light with your bowing. More hair gives it a thicker heavier sound, and you can really sit on the string - you would need this for a concert hall. Do these observations seem right?
  18. I started by trying to put docking rings on cheap pins. This was very unsatisfactory as you have noted. My approach was to cut down the cheap pins so I wouldn't need docking rings. Your approach was to use better quality pins. There are many paths to a good outcome...
  19. Cut off those clothes pin right about where you have the rubber bands attached and you will double their clamping strength without using rubber bands.
  20. I use clothes pins (for hangi.g laundry to dry) with the tips cut off so you get the full compression force from the spring. Easy, effective and inexpensive.
  21. Given my experience trying to remove a neck when the bottom plate isnt even attached, I would be inclined to agree with Darnton! There is enough surface area in that joint to hold strongly, even without the button. If the joint weren't to hold, I am not sure how much benefit a couple of rods would give. Even if the rods could take the tensile load, the glue area holding the rods in would be awfully small.
  22. Wow... that belly plate looks like it was graduated with an adze.
  23. I think that is not a good extrapolation. The bridge is a flexible support that deforms under vibration... and the bridge afterlength affects that deformation. The nut is a rigid support with enough surface area to prevent any transmission of vibration.
  24. When I lived in the city, the luthier I went to wetted the hair in some way... and wouldn't let you pick up your bow until the hair was dry. I will be interested to see if this is covered in the videos.
  25. This discussion has been great!!! I have ordered the Wake book, some materials from International Violin and a set of the nylon face pliers. (I have needed something like that anyway!) I will start watching videos and come back with any questions. I think the constrictor knot is the "whip" knot I learned 45 years ago as a Cub Scout. :-)
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