What's on your bench?

[James M. Jones]

Yes - it happens to me also.

The longer the ribs are off the mold, more "creeping" occurs.

My solution was to make more molds (I have 3) so I can leave the ribs on them until the garland gets glued to the back and the top lining get glued on.

Not much creeping (deformation) after that.

I am thinking that this is normal, but it would be interesting to hear from others.

thats what I was taught to do ..leave the garlad glued to the mold until the back is on and the top is ready...trimming the linning in the mold... I'm gonna try top first, then neck set, then remove the mold ,install linnings trim, then glue the back on, on the next set#8&9,,,,Unless I hear a better way. or one I think is better....

[Bill Yacey]

I use an outside mould. To prevent rib deformation I do this:

I think I've mentioned this before, but what I do is glue a longitudinal brace made from some 1/2 plywood ripped about 1 inch wide so it's not as deep as the ribs, and glue it between the top and bottom blocks. Then I cut some short pieces and glue them between the corner blocks and the longitudinal brace. This holds everything together after removing it from the mould, and can simply be cut out after gluing the ribs onto one of the plates. This also allows me to surface sand the rib assembly to ensure the rib to plate gluing surfaces are on a dead flat plane; I don't spring my plates.

[Salve Håkedal]

A new 5+5 for an esteemed irish fiddler.

This is halfway a new kind of instrument, derived from hardanger fiddle, but with 5 strings and tuned at normal A440.

It's the reason for me asking in a recent thread about the possibility of manupulating the B1 modes with low ribs. It needs some extra depth to support the 5th string.

[Addie]

A new 5+5 for an esteemed irish fiddler.

This is halfway a new kind of instrument, derived from hardanger fiddle, but with 5 strings and tuned at normal A440.

It's the reason for me asking in a recent thread about the possibility of manupulating the B1 modes with low ribs. It needs some extra depth to support the 5th string.

I like the tailpiece. Does it take a standard adjuster? I have thought about doing that.

[Michael_Molnar]

... .

With the internal mold, that doesn't work so well after the blocks have been shaped.

Actually, Don, it does work for me - so far. Here's a photo of a garland that I removed from the mould, reduced the blocks, then clamped the garland back into the mould. The flat granite block is from Kremers. Maybe someday I will come across a garland for which this doesn't work. I will keep you posted.

Stay Tuned.

Mike

[Ratcliffiddles]

It´s nice, what instrument it is?

Hi Christian,

The one on the Sotheby's catalogue cover is supposed to be Alessandro Gagliano and there are striking similarities, (purfling/ corners/ wood), though the one on my bench has a more recent front.

[Melvin Goldsmith]

A new 5+5 for an esteemed irish fiddler.

This is halfway a new kind of instrument, derived from hardanger fiddle, but with 5 strings and tuned at normal A440.

It's the reason for me asking in a recent thread about the possibility of manupulating the B1 modes with low ribs. It needs some extra depth to support the 5th string.

Cool work Salve!

[Salve Håkedal]

I like the tailpiece. Does it take a standard adjuster? I have thought about doing that.

Shure. But it's not needed, as I put Perfection pegs on it. (Geared pegs)

Edit: Oh! I see. You perhaps meant the tail-gut. Yes it does. But I have to put a piece of metal with 2 holes in it between the screews of the nylon loop, and the tailpiece. If I didn't, I fear the maple would breake/give.

Cool work Salve!

Thank you! It's fun to.. Making something a bit different.

[Melvin Goldsmith]

Making varnish.

The sample on the left is cooked in color the other two are a Marciana type recipe colored with pigment.

[Melvin Goldsmith]

Joe, it is a question for you, I feel Greek Pitch and colophony, even cooked, and dry quite thermo-sensitive (finger print still mark after a long time). Did you find a way to avoid this feature?

..........

I have some of Joe's Greek pitch varnish on samples and it is pretty cool...my samples of it are not thermo sensitive and chip or wear in a good way. On the other hand pine resins tend to react in different ways depending on species .

[Melvin Goldsmith]

double post... sorry!

[Fjodor]

This is what's on my bench today (well I finally got a real bench now)

On the first picture is the back and rib garland.

I've been working on the top and bass bar. The weather outside was so nice so I took it outside for some pictures.

[tarisiosfever]

After 2 weeks of playing in-the-white, and messing around with machines and motors, Snakefiddle II is finally back on the bench for final edgework and detailing prior to varnishing.

Please tell me how do the open G and and open A strings sound.

Thanks in advance,

T.

[welshman]

This is my latest project - basically reassembling this for display for the Frederick Selch Collection of American Music History at Oberlin Conservatory. This is an unnamed, undated "Yankee" violin from New England c 1800. I posted photos of it on another topic - it has linked f-holes with the bassbar carved out of the belly running through one of the linked f-hole ends. There are no interior blocks except for a common neck end block, so no corner blocks and no end block. The ribs are set into grooves no only at the neck but also all along the edges - it ended up a lot stronger construction than i had imagined. The neck is from another instrument grafted onto the neck with a complex and highly involved set of joinery - a master at work here t least, hand made pegs and tailpiece and a wedge shaped fingerboard with a very hollowed out underside. It is small )13.5 inches) with a short string length but even with string for strings (what it was displayed with before) it makes me want to put gut strings on to hear it. An amazing little folk violin. The tailpiece attaches via a wire loop running down and through the back plate edge.

Reese

[Addie]

The tailpiece attaches via a wire loop running down and through the back plate edge.

Pretty cool. Very Yankee.

[Don Noon]

Please tell me how do the open G and and open A strings sound.

Thanks in advance,

T.

Wow, now there's something from a while back. My opinion is that it sounds like a normal violin, but louder, and a slight bit weak on the highest overtones. Here's a G scale; you can form your own opinions.

Snake Scale.mp3

[Johnmasters]

I have several workbenches, and this is the latest. The idea of CNC is to carve the formulas which I have calculated and make a pattern of this shape. I can do cellos on this, just the right size.

The patterns will be used on a pantograph which I will also make.... it is faster and easier to use.

I know there is a some prejudice against machine tools, but I excuse myself that I made the machine and the formulas myself.

I would be interested to know of anyone else who is interested in going this route.

The romance of hand tools.... I am aware of that. I did it for years and now I am bored and tired with it.

[christian bayon]

Hi Christian,

Did you happen to photograph the scribe line on the upper bass side rib near the neck root that Roger H mentions when he talks about how the upper ribs were tapered by Stradivari? If you did so, it would be interesting for everyone to see.

Bruce

Here is a photograph of the upper rib, but I can´t see the scribe line. I need to check the Roger book, but if I remember, the line is suppose to be inside the ribs!

Edit: Roger, if you pass on the forum, can you confirm the scribe line is outside of the ribs, it´s not very clear for me in your book (my English is quite "basic"), and is it the black line I see???? on this photograph? Thanks.

[Michael_Molnar]

Making varnish.

The sample on the left is cooked in color the other two are a Marciana type recipe colored with pigment.

Ooooh! That looks nice.

Tell us more if you can.

Stay Tuned.

Mike

[Michael_Molnar]

Here is a photograph of the upper rib, but I can´t see the scribe line. I need to check the Roger book, but if I remember, the line is suppose to be inside the ribs!

... .

But your photo is of the OUTSIDE.

Stay Tuned.

Mike

[bmccarthy]

Johnmasters

I know there is some prejudice against machine tools, but I excuse myself that I made the machine and the formulas myself.

I would be interested to know of anyone else who is interested in going this route.

The romance of hand tools.... I am aware of that. I did it for years and now I am bored and tired with it.

I thought the same up until a couple of years ago and have come full circle back to working with hand tools for pretty much most jobs. I was constantly trying to find fast ways of doing things but now slow is IT for me. Maybe it's an age thing.

Apologies John, I didn't do the quote thing correctly, I'm new to all this.

[Johnmasters]

I thought the same up until a couple of years ago and have come full circle back to working with hand tools for pretty much most jobs. I was constantly trying to find fast ways of doing things but now slow is IT for me. Maybe it's an age thing.

Apologies John, I didn't do the quote thing correctly, I'm new to all this.

Actually, this is not really to save time and work. It is to make a pattern just as I want, according to math functions I will be using. It will likely make patterns only. IF a pattern exists, then a pantograph can remove wood to make a blank that has to be surfaced and all is is hand tools.

It is not "cheating", it is more a method of measuring. At least for me. I was not happy with my arching shapes, and templates from posters was not for me. I am especially interested in where to place the inflection in the curve. I think this must be important for several reasons.

[bmccarthy]

Actually, this is not really to save time and work. It is to make a pattern just as I want, according to math functions I will be using. It will likely make patterns only. IF a pattern exists, then a pantograph can remove wood to make a blank that has to be surfaced and all is is hand tools.

It is not "cheating", it is more a method of measuring. At least for me. I was not happy with my arching shapes, and templates from posters was not for me. I am especially interested in where to place the inflection in the curve. I think this must be important for several reasons.

John, I think we have a misunderstanding. I have no problem with power tools, I have many myself, and I certainly don't consider and didn't say that you are "cheating". I was just saying that personally I've moved away from years of wearing ear protection (I've worked in other woodworking areas besides violin making for years) and now prefer the silence of hand tools where at all possible. For me it's about striking a good balance between the two. What you're doing with the pantograph looks really interesting by the way, I wouldn't have the skills to get that together.

[Johnmasters]

John, I think we have a misunderstanding. I have no problem with power tools, I have many myself, and I certainly don't consider and didn't say that you are "cheating". I was just saying that personally I've moved away from years of wearing ear protection (I've worked in other woodworking areas besides violin making for years) and now prefer the silence of hand tools where at all possible. For me it's about striking a good balance between the two. What you're doing with the pantograph looks really interesting by the way, I wouldn't have the skills to get that together.

I did not think that you were down on machines. Actually, I no longer have a pantograph. Here is a picture of one I HAD. In the background, is a larger one for cellos which I never finished. Parts are over 25 years old.

I canabalized the linear bearings and rods from both machines to make the CNC that I showed before. I will have to make a new pantograph, and maybe a better one. The CNC will be too slow to be practical. That is why it will be for patterns only.

[Carl Stross]

I did not think that you were down on machines. Actually, I no longer have a pantograph. Here is a picture of one I HAD. In the background, is a larger one for cellos which I never finished. Parts are over 25 years old.

I canabalized the linear bearings and rods from both machines to make the CNC that I showed before. I will have to make a new pantograph, and maybe a better one. The CNC will be too slow to be practical. That is why it will be for patterns only.

That machine of yours is surely a strange looking thing. Reminds me of old machine tools from the 1700s where wood was a major component. I don't quite understabd what is it for. Is it supposed to make patterns only ? And then the pattern will be used on a pantograph ? Why not use the machine to directly carve the plates ??