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Found 10 results

  1. Hello my father was a luthier since 1970 - he passed two years ago and we recently decided to sell his collection of supplies, tone wood, ribs, a couple of violin and cello scrolls, forms, etc I will attach a few pics to start and if you have questions or an interest please fire away!! He also had a terrco marlin wood duplicator that came in handy for him in his mid 80's to get the job done quicker! The tone wood collection is mostly for violins maple and spruce - dated as far back at the early 70's and up until 1999 - there is a few pieces for a cello as well many violin forms one cello many ribs, wood blocks, purfling and much more thanks! Audrey
  2. Hi! I'm a beginner who is trying to make a viola. I've tried bending the C-bout ribs, but slightly burned a single piece (the right one in the image). Would this burn be removable by slightly using some sandpaper, or would it remain there? Do you have any suggestions on how to remove (or take care of) this burn? Or do you recommend re-doing the ribs with another piece of wood? Thanks a lot in advance :)
  3. Hello, I am looking to buy a block plane to use for rib thicknessing and for other jobs like shooting the corner blocks shaping the fingerboards etc. I'd like to buy a nice veritas but they are too expensive. So I decided to go either for the stanley 102 or the stanley 18. The price difference is quite significant. The 102 costs around 12 € (plus 20 shipping) while the 18 costs 50€ (plus 20 shipping). There are a few differences though the 18 has an adjustable mouth, tilt and depth whereas the 102 is as plain as it gets. Which one should I get?
  4. ramy

    neck back ribs

    We all know that back, ribs, neck of a violin should be made of the same wood, then if i can clearly see grains or flames or figures "whatever :D" on both back and ribs but not on the neck!! What could that tell us? And DO NECK WOOD AFFECT SOOUND QUALITY??? and thank you so much for your answers
  5. I should have mastered this by now. I am ready to remove the garland from around the mold on my 6th violin (which is going to be a five string). Each time before I have ended up cutting it out, or using a collapsible form I made. I made a new mold for this violin, telling myself I wouldn't be timid about getting it off this time. And yet, I can't seem to do it. The ends don't want to clear the linings. Is there a trick?
  6. Attached is a photo of a rib that I bent for the c-bout. Sometimes I get these splits or cracks usually with highly flamed maple. The frustration is that just when I think I can prevent them, they reappear. Any good suggestions or should I just grin and bear it?
  7. Hello to everyone this is De Paoli from Canada I would like to add more photos of tone wood and accessories that we have if there is an interest please let me know as we are moving from our present location over the next month and would like all this wonderful collection to go to luthier's hands! the next few posts will be of pics but if you request something specific i can post many more! thanks again for the interest!
  8. Hello everyone I have some lovely pieces of Cello tonewood they are two piece - some already joined and a couple still in half I have cello ribs a few scrolls bridge finger boards cello mold/frame if anyone's interested please let me know!n thanks!
  9. I am new to the art of violin making. I am going to try first with a simple violin, this is really just a practice instrument, so I'm not bothering with using heat and pressure to bend the back and front, or stuff like that. I have a design to trace off of, (courtesy of Peter Horn) and I have the wood I need to construct the back and front. However, while I was talking with Peter, he did not give me actual rib measurements, so I'm floundering around looking for rib measurements. I understand that there are many different ways to make ribs, and that they vary from maker to maker. If someone could reply with a set of measurements (I can't find them on the web!) that would be great. Also, I'm still trying to figure out what a rib is. Looking through the first few pages of this forum, I found a drawing that had 6 blocks of wood at the top and bottom, and some at the corners near the middle. I think I have a good idea, but I'd like confirmation, as that piece of info is a prerequisite to making the ribs, obviously. A brief explanation would be excellent, thanks in advance if you do
  10. Hello everyone, I'm new here (though I've been lurking from time to time), and have a weird question. I recently bought a sixty dollar "attic violin" from ebay to restore and (if all goes well) play. I purchased the instrument because it had a well worn, rustic quality; a somewhat roughly carved scroll, nice chocolaty finish, and interesting figuring on the back. Today I finished removing the top plate, and was met with a very strange interior. The entire rib assembly, except for the neck and end blocks has been cut from one piece of wood. I mean, the corner blocks, all the ribs, and the lining are all one piece. I have read quite a bit about lutherie and restoration over the past few years, and spent most of today researching this matter, but I can't find any other instance of this. Unfortunately I don't have a camera to take pics of it, but I wanted to ask around and see if anyone else has encountered this method of construction before. This violin is unlabeled and of unknown age and origin, but it certainly looks, feels, and smells like its at the very least 40-50 years old. It looks like someone put a lot of love into making it at least, and with the exception of the crack on the top that I'm preparing to fix, its in pretty good shape. Has anyone heard of this before? Perhaps it was a common regional practice or a labor saving device employed by some trade instrument makers? Any feedback on this is most appreciated.
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