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Ranala

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  1. Hmmm, yeah... well making violins come with its own set of complications I have been told ;-) The button is three-ring already, but I think I can remove a bit from the frog itself, I'll try. If it feels way too heavy I can always just call it a smallish viola bow. I think the main issue here is that I am using (bad) Ipe and expect a (good) Pernambuco stiffness to weight ratio.
  2. Yeah, when I wrote it I kind figured it might be a bit on the heavy side. My previous bow was 60-ish gram, but way too weak. What would be the best course of action now? Thin the stick a bit I think I can remove come of the frog side of the stick at the moment, but this might make it too weak? Try to remove some material from the frog? Or just continue now and first check playability before shaving material of the stick?
  3. Thank you! The stick is 41.2g and 57.5g with frog and button.
  4. Thank you! I’ll shorten the mortise a bit (to the 6mm you mentioned). The backside of the mortise is 4mm (the distance to the sides at the back is 2mm).
  5. 9/02/22 - fine cambered and graduated the stick. Started working on the head mortise. Is the following head mortise outline OK? 1mm from the sides on the nose end and 2mm on the frog end length is about 8mm.
  6. It seems like I forgot to document some of the steps here. 15-1-22 (ish) Glued on a piece of wood to the head part, so I’ll have enough to work with. I also cambered and rough shaped the bow and cut the mortise (still need to cut the nipple). 1-2-22 Glued on the ebony(!) lining and bone plate. The bone plate I glued by cooking the bone in some boiling water for about 30 minutes. Then clamped it in the contraption. The yellow part is there to be able to properly clamp, and the black is several layers of (fake) leather to distribute the force of clamping. Had to work fast before the bone cooled of, but in the end the curve was ok. I then let the bone dry and reclamped with superglue between the layers. 2-2-22 Started shaping the head. Trying to copy a sartori head, but I am way off. Please let me know if you have comments.
  7. Thanks, I’ll probably skip that then. I might just stay with the wood I gathered for the next few bows, might get some planks of massaranduba to not have to deal with the green dust though…
  8. Well thanks for the suggestions. @PhilipKT Not sure if Osage Orange will be a step up from the wood I am using at the moment. If it is, I am all ears for trying my hands on a blank, but it probably won’t match the craftmanship of your button and frog.
  9. I have been dabbling with making bows. Nothing good, or mediocre, but I like the work so I continue. I am now working on my second Ipe bow, which comes along quite nicely at the moment. I am already thinking about making a third (and fourth). I might be able to get another 3-5 reasonable blanks out of the Ipe planks I got, but the wood is a bit sluggish, and the dust is really annoying. The question is, should I get ‘proper’ blanks? Or just continue practicing on what I have until I am a bit more proficient? And if I get blanks what should I get? The choices are: Massaranduba [I could also try to source planks locally] Camel thorn Accacia Pernambuco Caribbean Pernambuco [Is this different from ‘normal’ Pernambuco?] Ipe [I’ll still have the green dust problem, but the stick might be a bit stiffer/grain more uniform] Of course if money was no objection I would go for Pernambuco blanks, but sadly I am not ready to burn through 80EUR+ blanks, without a reasonable expectation that it would come out as a semi decent bow.
  10. @Violadamore Yes I think that is correct (at least that is how I see it now). Another thought I had is that the (deepness(?) of the) camber dictates the playing tension on the hair. It might be interesting to measure the tension on the hair of some well playing bows as this can guide us to how much camber to add to the stick. Also, I think you can reverse engineer the camber by applying tension to the graduated stick. The camber you pull into the stick should be inverse to the camber that the original maker put in (given that the tension is the same). it is quite funny actually to think about this. Does anyone know how to measure the tension of the hair? Is it as simple as tensioning with a newton meter in line? Anyone wants to measure a (couple of) good playing bow(s)?
  11. 4/1/2022 Started on bow stick 2! Still no access to a band saw, so took out the old trusty hand saw and spent nearly 30 minutes to make two cuts… I tried finding a piece of lumber that has relatively straight grain and as far as I can tell it is OK? (Please tell me if this is as horrendous as the first). I tried to be ‘non-wastefull’ here, but I think, because of that, the head is now too small (19mm). I could attach an extra piece of wood there to make the head height workable, in the end it is just a practice piece. I roughed out the shape 9.5x9.5mm and made the stick 8 sided.
  12. Thanks @Brad Dorsey I’ll give it another try soon (just back from visiting family for christmas). I happen to have some old hair that is too short
  13. Thanks @Blank face I’ll start with the recambering then. These are the bows I am talking about. Am I right to assume that the middle one is beech wood, the short one pernambuco and the top one mystery wood?
  14. I acquired three old and rather rubish violin bows that have been stored tightened. Subsequently the camber is next to gone and I would like to recamber and rehair them to practice both skills. If I understand correctly the camber of a bow works together with the graduation of the bow, which you can both control when making a new instrument. When restoring one generally wants to honor the original makers intent, which would mean that the original camber should be restored to the graduation of the stick. This, however, seems a bit trickier than fitting the graduation to the camber. The best plan of action that I can think of is putting in a camber, checking the action of the stick when tightening, then adjusting the camber, etc. This seems rather cumbersome because one needs to wait quite long between cambering and checking for the wood to cool down. Do I make this too complicated? Are there any standard ways of tackling this problem?
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