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David Stiles

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    Northern Beaches of Sydney Australia

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  1. I rummaged around a timber yard today and scored a nice piece of Pernambuco and some Ipe Amarillo. Both about 1050Kg/m3. This could give me more than a lifetime supply of bow blanks.
  2. Meanwhile, I have been distracted by trying my hand at bow making. A while back I had a piece of Queensland (Australia) rain forest timber for a guitar fretboard. It had a density of 1050kg/m3 and Modulus of Elasticity of 19.2GPa. Quite similar to Pernambuco. I thought this was interesting and obtained another piece of suitable size for violin bows however this piece turned out to be lower density; 890kg/m3 and lower MOE; 1.57GPa. I went ahead with a few practice sticks and it is very nice to work with. First attempt ended up a good weight at 38g but too flexible (according to Gianna Violins measurement system). Second one is 41g and a bit stiffer but not quite enough. Both are octagonal and a little over size (according to John W Stagg's book). I feel that to get the a good stiffness with this timber, a bow will end up too heavy. If I can get hold of a denser piece like my original fretboard it could possibly be spot on.
  3. I finished my garland, here are some pics:
  4. The size shape and blade angle are what I need to work out. I have just tried a 50mm ibex finger plane clone with blade in reverse; bevel up. Blade is about 40 deg + bevel of 25 deg makes total of 65 deg. It works kind of OK but I am getting some chattering. Makes me wonder if the commercially made 90deg options are a good idea.
  5. Does anyone use these? They have two sizes, flat and curved.
  6. Forgive me for resurrecting an old thread however I feel this discussion has a way to go. I am at at this place. It seems that scraper planes are best option. If I were to get one of Lynn Hannings', what size would be best; small (55mm) or medium (93mm)? And should I go flat or curved?
  7. Hi John, that looks great. I might have to steal some of your ideas.
  8. Thank you all for your comments in the fungus affected maple. The supplier has agreed to replace these backs for me. There will be a delay getting them so I have decided to use a torrefied set from Switzerland that I was going to save till I had more practice. The spruce has a density of 0.41 is very close grained. The maple is 0.61. My last violin had similar timber and I found the plates were very stiff. This time I think I will lower the arching a bit. Nice to get started.
  9. Valerio, what I bought from Chatswood was traditional European spruce and maple wedges, matching ribs and neck block.
  10. Hi Valerio, I agree with HoGo that it it is definitely worth looking at makingtheviolin.com I have bought some very nice tonewood from The String Centre in Chatswood. It's not in their online store so I would suggest calling them to check first. I have also imported some direct from Carpathian Tonewood in Romania. If you buy a couple of sets, it works out to a reasonable price.
  11. Hi pipper, since you changed the title of the thread, my comment doesn't seem so funny. Oh, well! Hope you were not offended. It is an interesting looking violin, I am looking forward to reading what the experts gave to say.
  12. I'm no expert but I'm nearly certain it is a violin
  13. Thanks Hogo, I have just re-sawn my other maple back from the same supplier and it has even more staining: Very disappointing. Looks like I will have to try a new supplier.
  14. The time has come to sort out tonewood for my violin number 4. This piece of maple has a darker area down the centre. It can be seen on the end grain as well. Is this likely to be an issue acoustically or just visually? Maybe it won't show under varnish.
  15. I do wonder how the old Cremonese defined such a perfect circular arches without apparent use of templates.
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