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Il Virtuoso

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Everything posted by Il Virtuoso

  1. Many things could cause the ribs to break. For one low temperature. Opinions vary on what the ideal temperature is, for what its worth i bend mine at around 175 degrees celcius which is a bit on the high side. The most important thing though is that you use a bending strap and almost your whole body weight to bend the ribs. If there are gaps between the strap and the rib, or the rib and the iron, it will almost certainly break. You should clamp down the bending iron very tightly on the workbench so you can put your whole body weight on the strap without risking flying across the whole workshop (though i suppose that would make a good youtube video ). Also a little moisture helps. I dont believe you should soak the ribs, because based on my experience it makes the rib a bit more brittle. You will get better results if you soak a cloth instead and then lightly moisten the surface of the rib with that cloth. And the most important advice I can give is to take your time. You will definetely break a few ribs in the beginning even if you do what I mentioned above. Its part of the learning process and what makes violin making so fun. Good luck
  2. It should be a bit flatter in my opinion, I would aim for a gap of less than 0.2 or 0.1 mm. Especially if you are going to use it for the center joint. You can do that with a granite surface plate and some 120 grit sandpaper. But this will take a while. This is why I prefer a wooden jointer because you can flatten the sole way faster than you would a metal plane, plus you can use other methods to flatten it such as a smoothing plane (this takes some practice).
  3. Ofcourse they do which is why they are splash and go (not supposed to be soaked)...
  4. I have a different theory, I think the Shapton 16K produces a very very fine burr which is super brittle. This burr breaks after a few passes on the stone, but not evenly, which is the reason why the edge is left wavy and rough. But then again this doesnt explain the aggressive scratch pattern on the bevel... I've heard people saying that the 16K isnt actually 16K and that it might contain a small amount of lower grit particles. Who knows...? All I can say is that i am not a fan of this stone, despite being buyest towards it (considering the amount I paid to get it).
  5. I own a shapton 16000 grit stone. Just dont buy it. It would make your edge worse if you do more than 10 passes on it. There is something called over honing which will make the edge very brittle. The brittle parts will break leaving a rough "saw-like" edge. You are better of buying another brand or even better some chromium buffing compound on mdf or leather. Here's a video that demonstrates the problem I mentioned. Its about straigh razors but from experience I can tell you, that the same thing applies to the tools we use. https://www.youtube.com/watch?v=sn104Hib8I0
  6. The way I check if my tool is sharp is I run the edge of my fingernail over the edge of the blade cutting edge. Not for the faint of heart, but you can get much more information about the edge this way than you could get by shaving arm hair or cutting paper. If there are any nicks or worn out spots you'll be able to spot them as the nail will "grab" onto them. Also if your edge is properly sharpened it should feel like glass as your nail runs over the whole edge. If it's anything but absolutely smooth and glassy you either have a burr or you need to go to a higher grit stone. I guess you could use a loupe too, I have a zeiss stereoscopic microscope that I use from time to time but honestly I don't even bother any more. The finger nail method is good enough for me.
  7. Wow, this is one serious handplane. The iron is thicker than all the irons I own combined
  8. That is correct I first found out about this product from the fountain pen network which is a forum like maestronet just for fountain pens. But it works great for blades as well. Though I am aware that it was originally intended for aerospace use (not sure what they use it for, but it says so in the box). Also I find that you can use it to sharpen scrapers as well. But not on leather. I put it on a piece of mdf which obviously a lot harder than leather and it will not deform when applying pressure on it. Especially useful when sharpening 90 degree edge scrapers.
  9. At first I didn't buy it for sharpening. I am a fountain pen collector and I used to restore vintage fountain pens and this would be the final polilshing stage of the pen, Being water soluble you could easily clean it with a wet cloth. Few years ago I figured I could use it for sharpening. I was right it does work very well. For what its worth the level of sharpness achieved with it allows me to split a hair in two along its length. It does take a few strokes on the strop though, being such a fine abrassive. You can use green compound which cuts faster but produces a slightly worse edge. Mind you its still crazy sharp just a bit less than what i am able to get with this polish.
  10. Its about the same, if only a little finer. Honestly at that level of sharpness there is not a lot of difference so I'd say whatever you have your hands on works best. Its not referred to as a sharpening compound but as a polishing compound, but being abrassive you can obviously use it for sharpening as well. I've also used wenol car polish with great success and a tube will last you a few years since you only need a tiny bit to load on the strop.
  11. Hello Jesse, I will speak from my experience. I own various sharpening stones, a KDS king 1000/6000 combination stone a diamond cross coarse/extra fine stone a Naniwa Professinal series 10000 and a Shapton 16000 grit stone as well as a few stops with stropping compounds. Honestly you dont need all that and I rarely use most of them. The only ones I tend to use are the extra fine side on my diamond stone and a leather strop charged with Micro-gloss liquid abrasive, because they give me the best result as fast as possible. The only way to really test sharpness is on an actual piece of wood, since that is what you are going to use the tools on in the first place. A piece of pine or spruce (which i suppose you have plenty of since you are making violins) should do. Pair the endgrain and if it leaves a smooth finish without tear out, you are good to go. For high angle blades this unfortunately does not work as the high cutting angle (not the sharpness of the edge) will cause tear out on softwoods which tend to crumble and brake before they actually get cut. P.S. It would be even cheaper to get the KDS stone and a strop but you'd have to invest in a diamond lapping plate or find some other way to keep it flat. Eliminate the "middle men" and just get the diamond stone which is going to stay flat forever. I bought mine from dictum. Good luck!
  12. I don't think its exactly the same thing. I am not working from a poster and making a mould out of it. Instead I started from the pform and continued to build the violin on that. If I did the same thing on my violin it would leave a .5 mm overhang at the edge of the corner, which is too little even for a worn out corner let alone a "new" one. Based on what I saw on the thread ( which has some useful information if I ever decide that I have the skill to build a proper copy) this method only works if you reverse engineer from a strad poster.
  13. Wouldn't reducing the corners by two mm leave .5 mm overhang from the ribs. I am no expert at all, on the contrary I am a beginner but isn't this too little overhang? As far as I have read this has to be avoided.
  14. Thank you for letting me know I will try to correct them accordingly.
  15. Yes I agree with you and Mr. Sora, I see that as well. I don't know how I managed to do that and I doubt I can fix it. Since I assume that would require to add wood . I will pay more attention to that when I make the second one. I guess I'll have to live with it though it does make me a little sad that I can't fix it. My guess is that i might have filled a bit more wood in the middle when making the corner block templates. I probably didn't pay enough attention and due to lack of experience I didn't know how much it would impact the rest of the instrument. Well seems like I learned to pay more attention the hard way...
  16. Thank you, Mr. Sora for telling me what you think of it. I might shorten them even further but then the overhang of the edge of the corner from the ribs will become around 1.8 mm (if i dont make the edge of the ribs shorter). Would you mind telling me what is wrong with the lower left corner, so that i can hopefully fix it? Does it have too much of a hook into the cbouts area?
  17. I am sorry Mr. Sora I must have missed the second part of your reply. I didn't know that Stradivari made his blocks flatter than the templates of his mould. I assumed it would be the same so thats what I did like you explained in your videos, to take off the pencil line with knife and remove the middle part with the gouge and check with the square. Though I assume that your corner blocks templates have this "correction" in their shape. Meaning that they are flatter. I will keep that in mind for my second violin I had no idea, thank you Is this the case for all stradivari moulds and their corresponding corner block templates or just the P form?
  18. Thank you for the suggestion Mr. Sora, I had no idea that Stradivari had made an instrument with such long corners. I will scale it on cad if I find any reliable pictures print it and see how it fits my instrument. For now the design that I came up with is in the picture below. Its the result of shortening the upper corners edge overhang about .5 mm. I posted a picture before having corrected only the upper left corner but now I corrected all of them and here's a picture of the result. I would really like to know your opinion about it Either way I am not going to proceed before checking the Betts as you suggested. Having a Stradivari violin with long corners and made on the P form is the best reference i could ask for.
  19. I suppose I should use a semi agressive half round file for it, followed by a super smooth crossing file and then scraper?
  20. Thank you for letting me know. I couldn't believe that half a mm less overhang would have such a huge difference in the apperance of the corner. Well now I know haha. Thankfully I still have a bit of material to make corrections either by altering the overhang or by trimming the ribs and then feather their edge again as Mr. @David Burgess suggested
  21. Honestly due to lack of experience I didn't think that trimming the ribs even half a mm less would have such a huge impact in the shape of the corner. That's the problem when making a first violin, or at least what I experience. I don't know what impact will a specific step in the making process have in after 10 steps. I do have an idea of how a violin is built from start to finish but these small details that alter the final shape, I do not know. The only good that comes out of it is that after I finish this violin I will know first hand how a specific step in the making process impacts the following steps and any mistakes I might do now, I will (hopefully ) not repeat them in the second one
  22. I only changed the upper left one. The other three are just the outine of the ribs using a 2.5mm washer for the overhang. Sorry what I should have said is does the upper left corner look better than the one I did before?
  23. And how will i trim the c bout rib then? With a square scraper I guess?
  24. I agree with you better have a less uniform overhang than an ugly looking corner with uniform overhang. What do you think of the correction I made? Does it look any better in your opinion?
  25. But how will i test this if I don't trim the violin to the proper shape in order to use the purfling marker to see where the point of the purfling is located?
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