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FiddleMkr

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  1. by “float glass” do you mean just a flat piece of glass? That you adhere the abrasive paper to ? edit: I looked up “float glass”. I hadn’t heard the term. (I wasn’t asking a stupid question (not intentionally)).
  2. I’m trying to find the best way to keep a gouge sharp; better said; I am trying to find the easiest way to resharpen a gouge after it dulls with use. My way of sharpening is to use diamond plates, 300, 600, 1200, then either 4000 stone or leather and honing compound (or both). Then to resharpen after the gouge gets dull with use, I use the leather (plus compound) but most often I have to go to the 1200 grit, then the leather to polish. What I would like is a one step rehoning, if I could find one. Maybe ceramic? I could probably find the answer through experimentation but I was hoping that someone had found a one step process to resharpen their gouges and they wouldn’t mind sharing their experience. Thanks in advance.
  3. What do you mean? My experience is that with a “domed bevel” behind the cutting edge- the gouge climbs out of the wood too fast.
  4. The problem that I ran into without a “secondary bevel” was that the gouge keeps going deeper. That is when the back of the gouge is completely flat (from the edge back). And if it is rounded the gouge wanted to climb out of the wood (almost immediately). So the solution (for me at least) was to put two flats on the back of the gouge. Then I had a pivot point and could control the depth of cut.
  5. I’m using the sharpening jig again and I thought it may be good to mention something, in case you haven’t thought of it yourself. I put 2 angles on the backside of the gouge; say 20 degrees and 30. Then I have a fulcrum, or a pivot, for control of the depth of cut. The gouge I’m sharpening now has the pivot at about 3/16” back from the edge. It is of course easy to change the sharpening angle by raising or lowering the jig relative to the sharpening plate.
  6. That’s an interesting explanation. And it makes sense.
  7. What do you use to set the width of the purfling groove? Ie the shim between the cutters?
  8. My sound post fitting method had always been “the best I can” method until I saw Davide Sora video where I learned to do the final fitting. Then I knew how. (and with enough practice I could get good at it.) with all that said I have a question about the video showing the blu-tack and kitchen wrap method. It seems to me that you can’t really get both the length and the angles with one fitting of the tool because you have to get the tool out. So either the length or the angle has to change. You could however do it in two tries (it seems to me) and would be worth trying.
  9. There’s also the probability that a luthier working in a music store just stuck in a sound post that he had on hand, and the post was a little too short. This could easily happen if the sound post was inserted without removing the button. The sound post is located correctly with respect to the back of the bridge foot, and this is about all you can judge (by eye) unless you remove the button.
  10. What is the height and width of bead around the edge? That is; how tall is it and how wide? And how far from the outside edge is the purfling?. (That is the distance from the outside edge of the plate to the inside edge of the purfling?)
  11. I’m not sure what you are asking, whether it is asking for a better quality of nut file or a better method to get a seat for the string. Assuming it is the latter I can share my experience, for what it is worth. I have a set of nut files that I got from Stewart McDonald and I use them at the end of the process, in order to make the seat just the right size. But before that, I do all the work with a small diameter rat tail file. That way you can position the groove where it needs to be and put it at the proper depth. The problem with the nut files is there are no teeth on the sides so they only cut straight down. Obviously this limits their usefulness to the end of the process, in my opinion. And I choose a nut file just a little bit bigger than the string diameter so that the string isn’t pinched in the groove, plus I cut off most of the wood above the grooves so that there is just enough groove to guide the string. The idea being that the grooves just locate the strings without pinching them or providing a place for the string to buzz against. This is probably not anything that you didn’t already know, but it doesn’t hurt to review.
  12. Do you mean the G on the E string (3rd “fret”)? Or do you mean the G that is an octave above that? and what do you mean by “large odd notes”?
  13. Does putting stress into the soundboard, upper block, ribs, etc affect the sound? (Better said, doesn’t it?) I have always been careful to make the parts fit together well in the free state, for sake of the sound. But if it is not important that is an eye opener. Along the same lines of questioning is a rib assembly that is flat all around and blocks that are 1-1/4”, then dropping the front (neck mortise) block to 1-3/16” for ease of playing; doesn’t the stress induced into the top affect the sound?
  14. Do you have an estimate of how long it takes for a layer (or more) of varnish to turn dark like this? That is if you knew nothing else about the instrument, would you know the minimum years old it had to be to have this darkened layer(s) on it?
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