Jump to content
Maestronet Forums


  • Posts

  • Joined

  • Last visited

Posts posted by Shunyata

  1. 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...

  2. 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. 

  3. 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.

  4. 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.  :-)


  5. Thank you all.  I will get the Wake book and some high quality materials and see how it goes.

    I am hours from a good luthier so learning to hair is a practical move for me. 

    I figure if I can self learn to make good quality violins (with much help from this group) I should be able to learn to hair a bow.  I also learned that bad advice or bad thinking will lead you down bad paths.  So thank you again for your kind pointers.

  6. Thank you all for your kind comments... and for gently correcting my poor thinking at the outset.  I have dropped any notion of larger corner blocks.

    I have made an inside mold with 23mm blocks and I will plan making the C bouts a little thicker than my Strad model. 

  7. Regarding graduations... I can slavishly reproduce the graduations of the original, but this does not help me deal with the peculiarities of my own wood.  Are there any unusual, Guarneri specific principles for graduation?  Or do I mostly leverage the same gestalt I learned from the Strad model?

  8. I wasnt trying to deviate from Guarneri specs... I didn't know what the corner block size typically was.  Instead I laid out a thought process and asked for feedback.  After laying out the blocks as Davide suggested, I completely see why the blocks would be smaller than a Strad.  I learned a lot... thank you!

  9. I have been working with a Strad model and have finally figured out how to consistently get good tone and responsiveness out of this form.

    Now I would like to give Guarneri a shot and am working from the Kreissler.  Do you have any pointers for what I should think about handling differently?

    Also, since the C bouts are considerably longer in the Guarneri, I was thinking of adding a little length the the corner blocks to get similar stabilization of the C shape - maybe 28mm along the contour rather than the 26mm called for in Johnson and Courtnall.  Does this seem reasonable?

  10. Thank you all.  I think glue sizing will make the difference for me... the other aspects of my technique seem to be OK and my knives are razor sharp.  (Boy have I learned how important that is!)

  11. I will try glue sizing the hole and sharpening my f hole cutter blades.  I think my cutter may be damaging the grain, making the wing edge fragile.

    I have the Herdim cutter with "blades" that are a cylindrical channel.  How does one sharpen these - a dowel with fine abrasive paper?

  12. I Use a hole cutter for the eyes, then cut the little wedge between the eyes and the wingtips with a thin Swiss Made carving knife. 

    I start removing the wedge by removing pie slices near the outside curve and end up taking thin shavings from the end of the wing.  Directionally, all cuts start at the eye and cut away.

    No matter how careful I am I wind up chipping the little point on the lower wingtips.  Any suggestions for technique.

    Similarly, the hole cutter does not seem to leave a very clean edge.  Any suggestions?


  13. 1 hour ago, Evan Smith said:

    I sir could call you worse than that rotten baloney for making such an insanely ill informed assertion.


    I personally had 7, that is seven, ,,,,one, two, three, four, five, six, seven,,violins come unglued when taken to Violadamores house,   (just kidding, but it was close). Tops, backs, fingerboards, not a very good time, and I was at a show to sell them.


    Are we all liars at the mercy of your unjust judgements!

    Evan, I apologize for any offense.  I am an enthusiastic amateur who has benefited greatly from the kind advice of this forum.  I do not have a vast body of experience, have much to learn, and I certainly did not mean to cast aspersions.

    In all seriousness, however, my own experience has been that I cannot get the glue to release... but I have not had anything fall apart even in 80+ degrees and very high humidity for a week at the beach.  (Yes, I take my violins on seaside holiday, and have for many years.)

    Failure to release has made me cautious about Titebond Hide Glue.  I wonder what caused the glue to fall apart in your case?  Do you know if the glue was close to its expiration date?  I have heard shelf life can be an issue.

  • Create New...