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Everything posted by Jluthier

  1. Good idea. I admit to getting up in the middle of the night remembering to unplug my glue pot. I have it outside on my porch, which in Texas summertime means that plugged in it is just a few degrees warmer than ambient air :-) I also use an Enbrighton e-plug with an app on my iPhone to turn my UV Box off and on according to preset timer; never had a problem but I just don't trust it when I am asleep.
  2. Urban Luthier: I may give your method a try for my first passes. Thanks! David Burgess: Sorry you had to spend time looking for my writing. As per David Rosales, just go to Jay Higgs' Bench and then to the last page. Cheers all, Jay
  3. I am an autodidact maker who has struggled with the center joint. I have read all of maestronet views I can find on jointing and finally came up with a system that works well for me. I put this under Jay Higgs' Bench in the contemporary makers gallery for anyone interested.
  4. Another method of work: This is a post mostly for those of us who have not had the advantage of a mentor. Jointing the top and the back of a violin has always been a frustrating crap shoot for me, requiring several tries before I have a joint I am happy with. My goal is always to have a joint line with no irregularities or glue visible. I think I have tried everything imaginable, and ironically what I have "discovered" is probably what the experienced and well-taught have been doing for years. So, for my fellow autodidacts struggling as I have, here is what works for me: You need a plane finely tuned with a very sharp blade set as level with the plane surface as possible. Guard the blade against even minor trauma which will result in tiny nicks in your wood. I use a #6 plane. clamp the wood in only part of the vice for both planing and rub joint. Support the other end of the wood as shown in the attached pic, which demonstrates a completed rub joint curing. This avoids distorting the planing surface by clamping a slightly warped board in a lengthwise vice. Plane each piece consistently in the same direction. Mark each piece so you put it in the vice the same way each time. If you don't, you may feel a bit of lengthwise rocking of your joint as you try to match the pair; you have created a minimal but important lengthwise dome in one or both of the pieces. Visualize the joint line from front, back and through light to test if it is ready for jointing. Use minimal hand pressure to mate the pieces when you do this. The line should look nearly invisible from all angles. Spot plane for minor high or low spots, especially the common convexity of the center. Take finer and finer shavings as you do this. Paul Sellers has a good video on joint planing on the internet. When you have a good joint, paint on thin hide glue for sizing. let it dry, then plane a very fine shaving JUST before you do the actual gluing. When doing this, I retracted the plane blade fully, then slowly advanced it until the fine shaving was achieved, then 1-3 passes of the plane over the joint. I use tangential lighting to examine the joint for any last minute defects or debris on the surfaces to be joined. For the final joint, the hide glue should should be of the consistency to drip off the brush fairly easily. Too thin, of course the joint will fail. Too thick, you will not get a "grab" when you rub the joint. That is as precise as I can be. I error on the slightly thick side, and if I don't get a grab, I can thin the glue just a few drops more before re-trying the joint. Clamp one piece of the wood the same as before. Paint hot glue on rapidly. I have done this with and without heating the wood, and my last satisfactory joint did not use heat. Rub top piece firmly back and forth until you feel a good "grab." Once it grabs, carefully make sure the two halves are reasonably aligned; you can force minor shifts if you do this right away after the grab. If the rub stays slippery and will not grab, this attempt must be aborted. Take the time to stop, wipe the excess glue off, let it dry, and fine plane it all again. Use a slightly more dilute glue the next try. Once you have a good rub and grab, leave it alone for at least 12, preferably 24 hours before manipulating it. THEN you can check it out. The close up of wood is part of spruce I just joined using this method. I am happy with that. What did NOT work for me: -fine sanding or scraping the joint to remove burs; joint line actually looked worse. - doing a rub joint without sizing the wood -clamping the joint after rubbing; I know some very good luthiers do this, but try as I may with multiple combinations of clamps, pressures, alignment boards, etc, it was always a gamble whether my joint would be acceptable. -trying to immediately redo a joint after failure; you have to leet it dry and replane it -accepting a rub joint that does not "grab". -sampling a freshly grabbed joint with a chisel to see if it looks good; this just disturbs the joint -using a table top electric jointer; it got close but not perfect no matter how fine I adjusted it. It might be OK to use this as a start in very rough wood. -doing final planing one day and gluing the next. This allows the wood to change shape overnight. I you need a break, take it after sizing and before final planing.
  5. This is a very minor method of work post. I needed to boost the pressure of my clothespine lining clamps a bit. I thought of the recommended rubber hand technique, but instead employed plumbers' O-rings. They worked so well I thought I should post it, however of minimal significance. #8 O-Ring was a tight fit and gave significant pressure, and #9 was a bit less. Both can be found at plumbing supply or big box stores. They can be combined to get just the desired pressure.
  6. That's good to know, since my own instruments don't either. My 1962 Becker easily does.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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:
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. Thank you, and yes, I played it in the white already.
  19. 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
  20. 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.
  21. 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.
  22. 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.
  23. 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
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