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Roger's edge method


Berl Mendenhall
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I was only asking a simple question. Everyone only like to point out how great Roger is and that I should read, you see I'm a little retarded and can't read that fast and much, better to ask ;)

(That's what forums are for, or what?)

Good night

Peter

You said it first. I was willing to accept that you are a little bit blind. And probably somewhat deaf.
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I know, I have visited your web site many, many times. Very interesting readings. Today I was on a train back from a business trip and the Internet was interupted most of the time.

That reminds me of an exchange we had a few weeks ago, during which I expressed skepticism that you could become a good maker by spending two or three hours a week at it.

 

I won't say that it can't be done, but I hope you understand that you will be competing with people who live and breathe this stuff.

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I supose it is always possible that he is pulling our strings?

Possible, but I suspect not.

 

Actually, before I had made six fiddles and without outside advice, I figured out on my own that finalizing the outline and purfling after closing was the logical approach. Between wood movement and slightly imperfect block faces I could not reliably get even overhang any other way. My handicap doesn't help, but is a minor inconvenience doing it this way. Later I found out that I wasn't the first.

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I supose it is always possible that he is pulling our strings?

 

Morning Roger

 

Now why on earth would I want to do that, concidering all the kind and open minded answers I got to a simple question :rolleyes:

Anyway, if it's allowed to ask a little bit more, it is still a forum i guess. Is the answer that James gave the only clue to why the purfling was inserted after the soundbox was closed?

 

Again, I'm not questioning the evidence only trying to kindly ask.

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Morning Roger

 

Now why on earth would I want to do that, concidering all the kind and open minded answers I got to a simple question :rolleyes:

Anyway, if it's allowed to ask a little bit more, it is still a forum i guess. Is the answer that James gave the only clue to why the purfling was inserted after the soundbox was closed?

 

Again, I'm not questioning the evidence only trying to kindly ask.

Even if it was the only clue, what would be the other logical explanation for the pin to be consistently cut in half by the purfling?

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Now why on earth would I want to do that, concidering all the kind and open minded answers I got to a simple question :rolleyes:

Anyway, if it's allowed to ask a little bit more, it is still a forum i guess. Is the answer that James gave the only clue to why the purfling was inserted after the soundbox was closed?

#1 Because what I think /see is highly filtered through years of other people's actual experience. best to try and observe what they see. .

#2 There are plenty of others,(clues) although not quite so directly related, best to open your mind to the fact that "work" was being done when these instrument were being made ,not theoretical practice.( there's gotta be a pony somewhere around here) Oh yea, post 133......

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I had been reading Roger's chapters in the DG book and I thought I'd try his method for edge work.  I found it easier (much easier) to do nice clean edges.  I have a few pictures of the process.  I apologies for the fuzziness of the first I wanted to show the channel.  I used a vaining gouge to cut the purfling to depth and then did each side.  I also found the small brass tool very useful for doing the inside part that blends with the arch.  In my opinion it's not much good for anything else.   The outside part of the scoop I did with gouges and scraper.  I have yet to roll the edges over to the final edge thickness.  I want to wait till I've finished scraping and finishing the arch.  I've got two fiddles started and I used this method on both backs.  So far I'm a convert      

Please excuse me but what is the "DG book"?

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Please excuse me but what is the "DG book"?

Giuseppe Guarneri 'del Gesù' by Carlo Chiesa, John Dilworth, Roger Hargrave, Stewart Pollens, Duane Rosengard and Eric Wen

Rodgers chapters http://www.roger-hargrave.de/Seiten/english/Bibliothek/Bibliothek.htm 

Or the whole book http://www.orpheusmusicshop.com/makers-making/SL089.html 

Expensive but worth every cent.

-Jim

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  • 2 weeks later...

No, that is exactly what Roger believes. That Stradivari cut a purfling groove 3+mm deep.

Here are excerpts from Roger's book on del Gesu.

attachicon.gifimage.jpgattachicon.gifimage.jpg

I wish I could find the 35mm slides I have of a beautiful, pristine Nicolo Amati in which you can clearly see the marking out of the purfling channel. The tool used was not a knife but the same dog legged compass used to mark the crest of the edge. This tool has a blunt point so as NOT to cut the grain of the wood. It leaves an impression similar to your thumb nail. Probably not dissimilar to a tool like this.

attachicon.gifimage.jpg

The edge channel was all but finished except for scraping when the purfling went in.

Hi MNers,

I will be posting over the course of the next few days a continuation of this topic. There is a fair amount of material to present and cover so I will have to pick away at instead of writing one big post. Hopefully it will make sense by the end.

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