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Everything posted by Jluthier

  1. That's good to know, since my own instruments don't either. My 1962 Becker easily does.
  2. I am not as experienced as the previous posters, but here is what I look at for starters: F holes: are they symmetric? cut cleanly? Purfling: is it even all the way around, or was the channel cut poorly? Are the miters at the points tight, or are there gaps? Scroll: hold it at several angles to see if it has symmetry. Is the spiral nice and regular, or are there areas where the width does not taper smoothly toward the eye? Pegbox: interior cut out well or is it irregular? How do the pegs turn? Back and top: Is the center joint almost invisible? Are the topical curves symmetric? Fingerboard and nut: high quality ebony? Smooth? Nice joint with the neck? Correct height above the top and in line with the center? Here you might need a straight edge to determine if the numerous curves have been cut or if it is just a linear job (Davide Sora has a nice video demonstrating the complexity of cutting a fingerboard) Edges: is the overhang symmetric? Note this is for evaluating mechanical workmanship, not sound, nor finish. Older instruments require looking past the wear and tear and erstwhile repairs to the original condition. I am sure there are some contest judges who can make a better list than mine, but it's a start.
  3. I am playing my recently completed violin (pics in makers' gallery). I like the tone and it is really fun to play. BUT...then I pick up my 70 year old Becker and well...that's magic. Dang.
  4. This is a really old post but it addresses what must be a common question for newbie luthiers like me. The Johnson book indeed says put the long medullary lines in the front, and Karl Roy says put them in the back. My Becker violin, inherited from one owner who it appears never had work done on it, has the long medullary rays in the front. I guess the answer is that there is really no standard. Thinking I had cut the bridge backwards for my new violin, I re-cut another with the opposite orientation. Both seem to sound about the same.
  5. As a newbie I tried the sanding jig on the violin I just made. Despite my best efforts, the back and forth motion failed to capture the actual curve of the violin, so I went with the traditional method. I found that using tangential light through the foot base I could tell if the fit was acceptable. The chalk idea seems good as long as it doesn't affect the finish.
  6. Here is the finished instrument. I posted my experience with the Old Wood varnish system in the Pegbox. Photographing the instrument was as hard as making it! Especially the numerous curves in the top gave horrible reflections, and then with adequate tangential lighting it looks artificially blotchy like a child fingerpainted it. For the back, I supply a pic with direct light and a major reflection, but this is to show how the surface actually looks. The side view is also a reasonable reproduction of the varnish. The only post production processing was exposure, clarity, cropping, and blocking out the support system. Thanks to all of you who post on MN for mentoring me as I relearn how to make a violin. Pics: 1. front, diffusion lighting 2. Front, tangential lighting 3. Back, tangential lighting 4. Back, direct lighting 5. Side 6 and 7, scroll detail.
  7. So here is my experience with the Old Wood ground and varnish system. Note I am essentially an autodidact beginner luthier, having made my current violin after a 25 year gap from making several in the remote past. As you will see, I made several mistakes, from which I hope to learn. I detailed my experience as these “notes to self’ to improve my next effort, so take them for what they are worth; I make no claim that any of my notes will give a good result for anyone else. Maybe some of the pros can add suggestions about what I did right and wrong. Someday I would like to attend Joe Robson’s workshop, but for now I am on my own. I do know Joe’s first rule of varnishing; “First do no harm.” I had to learn that lesson a few times as below. I should have run through the entire process on a trial piece of wood, but I didn’t have the patience to go through 4 weeks of trial finishing, and I am not sure that would have averted my newbie mistakes, especially given the convoluted surfaces of the actual instrument. I tanned the violin in the UV box for two weeks. Mistake one: I thought I had checked it over pretty thoroughly, but I should have been even more diligent. The slightest irregularity in the surface or errant spot of glue will become glaringly apparent as the process goes on. I applied 2% technical gelatin as instructed. This was pretty easy. I used the foundation color Italian Golden Ground A/B. The A phase went on pretty easily, and I made sure not to over-rub it with the sponge to preserve the gelatin layer. After 8 hr of UV I did the same with the B layer, which only needs to air dry. After air drying, I noted on the back of my violin a lot of spots, like freckles. Not sure what to do, I used a wet cloth to rub it out and the B layer freckles came off. I was concerned that I might have rubbed out the technical gelatin, but in retrospect that does not seem to be much of an issue. Note to self: Don’t put too much of layer B on, but if you do, you can gently rub off the freckles. I then applied the Old Wood refractive ground. I hand rubbed it with vinyl gloves, and this went pretty easily. Mistake three: in the process of rubbing down the coat, you have to dab your glove on a cloth periodically. I didn’t ensure that my first cloth was totally free of dust and lint. Hence, I transferred some extra tiny debris on my finish. Before putting on a second coat of refractive ground, I endeavored to pick out the defects. Mistake four: Most of this went OK, but I obsessed over a little black dot on the top and worked at it too much, leaving a small divot in a summer growth line. Mistake five: I decided to fill the divot in with extra refractive ground, and put painter’s tape around it to only expose the divot. When I pulled the tape up, small pieces of the prior ground layers came up, leaving the bare wood. Sadly, I had taken a small problem and created a larger one. Fortunately, I was able to repair that with more A/B ground, and the tiny black dot is still there (just in front of bridge on left side in the pics). I did learn from this that 1) the ground is very delicate and 2) It doesn’t penetrate the wood very far at all. I then hand rubbed a coat of Doratura Minerale. This was thick stuff, which can be thinned a bit with the special oil that comes with it. On my next instrument, I will probably omit this step, because for me it filled in the winter coat reed lines to some extent, and the refractive ground alone is quite nice as long as you apply it carefully. I probably should have followed the instructions to rub the cured Doratura with odor free kerosene to get the mineral particles off the surface, but I used 2000- grit sandpaper. (note to self; follow ALL of the instructions). I put two coats of Old wood yellow varnish on next. It looks dark in the tray, but after you rub it on, it looks clear. The violin looked very pretty, but colorless. I then did one coat of dark brown and one coat of dark brown with red mixed in. It still was not very dark. I knew I needed more pigment. I toyed with mixing artist oil pigment in with the varnish but by now I was very wary of creating my own disasters, so I bought the $150 brown/red natural pigment from Old Wood. I mixed this with dark brown and applied it. Getting a highly pigmented coat on even was much more of a fuss for me, but I was able to do it. I then followed that with two coats of amber varnish. Here are some things I learned about hand applying the varnish: (yes, more mistakes) A little bit goes a long way. I put small amounts in an artist’s tray which worked well. A couple drops of Old Wood thinner may help with the spread. Rub in with circular motions, but I found on the top the final motion should be along the reed lines, and on the back in the direction of the curls. Check for color uniformity looking straight at it under bright light and check for surface defects by looking at reflective light from an angle. Get it on a section, then leave it alone. Trying the fix minor defects after the varnish has set will result in roughness of the layer. My routine was back, top, sides, edges, then scroll. Use a fresh clean cloth to dab extra varnish off your gloves. Slightly wetting the cloth with the Old Wood thinner may help, but don’t overdo that. A stiff bristle brush is a must for getting pooled varnish out of tight spots. Another small brush is helpful for coating the inside of the F holes and other small spaces. Do the F holes just before rubbing that part of the top. Between coats, you can rub with fine abrasive, but only to remove tiny dust particles. It is really easy to rub right through the previous coat, resulting in uneven color etc. I used 2000 grit paper with brief wet sanding, almost no pressure. Another error: I should have paid a lot more attention to the joints between the plates and the sides. I assumed that the varnish would cover for any small defects, but it would have been better to make sure that these joints were totally clean and then make sure not to allow varnish build up at the joints, which just looks sloppy under magnification. I used pumice then rottenstone to rub out the varnish, but this resulted in too matt of a finish for me. I rubbed an extremely thin layer of amber on top of that, and then very VERY gently went over that with rottenstone only, and that gave me the sheen that I like. The series of pics here first shows the violin with ground, then the finished instrument. I had a lot of trouble capturing the actual finish, which is really quite nice. Tangential lighting eliminated bothersome reflections but then made the finish look artificially strange and blotchy, so I have posted several lighting options for the top and back. The highly reflective back picture shows the true character of the finish the best. The wood for the back of my violin was very inexpensive, so the fact that only part of it shows curl is a true reproduction. The part that does have curl has nice chatoyance. The sound: when newly cured, the high notes on the violin seemed to me a bit muted, but with a few weeks of further setting, the violin is coming back to the bright or even better tone that it had in the white. The varnish is not yet done curing. In case it is not clear, the pics (submitted with lower resolution IAW instructions) show 1. Front and back after ground application, bare wood for reference 2. Final varnish front 3. Back without glare, tangential lighting 4. Back with glare, direct lighting Pics:
  8. Hey John: I have learned some things about equisetum by ruining it and in one case using it to my satisfaction. First, how I ruined it: One batch I saved in my garage until the Valentine's Day freeze in San Antonio Texas; which pretty much turned it into dust. My Lesson one: don't freeze it. After letting another batch dry out and turn brittle, I decided to rehydrate it by placing it in a plastic bag with a damp paper towel. After a week the entire bag was full of some sort of white fungus so I trashed it. My lesson two: rehydrate as described above, not my way. Now for a success: my first batch I flattened and glued to rubber backing (a car mat my dog had chewed up) as seen in the pic. This survived the freeze, doesn't seem to be bothered by being dried out, and I love what it does to the surface of wood; gently smooths and burnishes at the same time. I also use fine sandpaper on occasion but the equisetum is different. On the spruce top I get some texture by using the equisetum grain parallel to the grain lines. I don't know about the effect of plant age on the characteristics for our use. I a going to Michigan and will look for some late fall/early winter specimens.
  9. Absolutely; any variable can affect the outcome, which is why my results are limited. My 35 year old container recommends 1:1, so I used that for the test.
  10. Hello again, Matt: I decided your good suggestions for my scroll could be done by taking a bit more wood away, so I did that. At the same time, I was unhappy with my chamfer and modified that as well. I took only a few cell walls off of my F holes so far and will give them another look just before the UV box. Thanks again.
  11. Thanks, Jezzupe! Ken: I will, and I do :-) Andreas, thanks again. Matthew: good tips. I still have time to (carefully) fix the F holes, and I will pay better attention to the throat next time.
  12. Great advice, Andreas! This makes me wish I lived in Tokyo and could work with you. In lieu of that, I will get out pencil and paper and start sketching here in San Antonio.
  13. Thank you, and yes, I played it in the white already.
  14. Thanks to all of you for you numerous posts over the years. As an autodidact, I try to consult all of them along the way. Attached is a single pic of my violin. More pics and my own assessment of the problems are under Jay Higgs' bench. This one is headed for the tanning booth, but I will use your suggestions to better my next one. Regards, Jay Higgs
  15. I just submitted a new set of pics. They came across in random order. I did some tweaking in addition to finishing the button. Thanks in advance for your suggestions for my next violin. This one is bound for the tanning booth now.
  16. For me, the smaller the hand grip on a tool, the more it hurts my hands. So, even though cutting a purfling groove is very find work, I like a knife with small sharp blade but a larger handle. I use the method described by Nathan above.
  17. Thanks, Ken, I will checkout Addie's post. This violin is from a left over mold I made years ago, probably from a drawing in Wake's book. I will take your tip and work on the pegbox cheeks a bit.
  18. Greetings all: One of the experts in the Pegbox forum suggested that I as a newbie should post pics of my work as I go along. This is my first violin after a hiatus of 25 years; I had made 7 violins long ago, most of them fractional size instruments as my children were growing up. So, I am learning again, now with the benefit of MN, of which I try to research old threads at every step. This posting is a little late in my work on a violin, as you will see. I am about at the point of carving the button. I will incorporate any suggestions you have, either on this violin or on my next one if it is too late for this one. The pics are from my cell phone, cropped and degraded so as to not use too much memory. For my own assessment: 1) I don't like the general outline; the c bouts are too rounded and the upper to lower ration feels off. So, I will be creating a new mold for the next one. Do you have suggestions for a mold pattern? 2. The front purfling is bad, especially at the points. I did better on the back, using Roger Hargrave's method of gluing them in. There are still tiny irregularities in the black lines; not sure how to avoid that; the purfling I used was commercial, wood, not fiber. I really tried to keep the walls smooth and perpendicular when cutting the channel. I wonder of I should glue-size the channel before final fitting. Any suggestions? 3. My alignment pin holes are a bit too large. I look forward to criticisms from the expert eyes of MN...thanks in advance! --Jay Higgs
  19. I'm sold, Don. I will do that on my next back. Thanks, --J
  20. Baroquecello: I read what I could, and you are correct that the online information does not go into any detail. It is intriguing that the plate dimensions of the Cremonese are somewhat irregular and unpredictable. I am confused about how the magnets are placed on the intact instrument; you need two to adhere, so is there one on the top and one on the bottom? I will probably never get to the Netherlands to witness the process. --J
  21. Thanks jezzupe: I will find some pics to post in the makers' gallery. I haven't been taking pics to the standards set up by MN, but I will give it a try. Pease expand on your "Englemann" concerns. --J
  22. Good question, and I can only speculate; probably different from spruce vs maple, the former becoming softer and maybe swelling more. At least one of the internet mentors advises brushing on a thin layer of glue over a planed surface, letting it dry, planing it again lightly, then doing the rub joint, perhaps to counter any of the above effects. I wonder if any of you do that?
  23. Yes Michael! I want to learn from the pros, especially their "trial and error testing of ideas." Don's 9/16/21 quote is on target with my original request for any practical lessons learned by MN members. Don's post in this thread is also right on target with the original question. And yes, I am also listening to those of you who regard tuning as a waste of time; I assume you mean tap tones and other surrogate markers of tone, but maybe you don't even test your instrument tone in the white at all...maybe you could clarify that for me. Thanks for your thoughts...
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