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About Nestorvass

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    Senior Member
  • Birthday 09/29/1997

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    Musical Composition, Obviously violin making, general woodworking, high energy particle physics, quantum physics, artificial intelligence systems, programming

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  1. Wow, this is one serious handplane. The iron is thicker than all the irons I own combined
  2. 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.
  3. 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
  4. 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.
  5. 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, sinc
  6. 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.
  7. 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.
  8. Thank you for letting me know I will try to correct them accordingly.
  9. 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
  10. 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?
  11. 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 corr
  12. 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
  13. I suppose I should use a semi agressive half round file for it, followed by a super smooth crossing file and then scraper?
  14. 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
  15. 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 f