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No need for arching templates!


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Related to this "dem bones" comes to mind, arch bone connected to the graduation bone, which is connected to the recurve bone which is connected to the "individual" way/dimensions of the gluing table bone...so to speak. Meaning the softening/weakening of the recurve will be effected by the width of the glue table for the ribs and the way that is finished off, I've seen from taken right up to the linings and right up to the blocks, to a pretty fat table that seems larger than need be, some smoothed over, some and abrupt sharper edge. A violin table taken all the way to the edge with a deep recurve above it may become too soft, where a fat wide table with a shallow recurve may be too stiff. So to me the little "band" that is on the underside of the recurve and how you "do" that is just as important to factor or needs to factored in when carving the recurve as they directly correspond to each other.


Even blocks and how far into the instrument they protrude, if at all, can effect how the recurve will function. 

Jezzupe,  there for a while I wasn't sure if everyone was on the same page regarding where or what the recurve actually  is.  The way I understand it is it's from the peak of the outer edge, past the purfling groove and maybe up the slope a 1/4 " to 3/4",  maybe a little more if one is in his zone and the scraper is working good.  I was thinking others thought it was around the middle area between the purfling and top arch.   It can't be both or can it?

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Here you go:  http://www.maestronet.com/forum/index.php?/topic/330230-rogers-edge-method/?p=631383

Roger Hargrave wrote:

"If anyone missed it I discussed archings and working without templates on MN under heading 'Rogers Edgework' (not my title). It is a long thread that is mainly about edgework. The arching bit really only gets started at #290. There are a number of photographs illustrating the process. There were also a number great drawings and photos of classical instruments posted by members."

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David, when I was working for a big shop I did mess around a lot with set up or should I say it messed around a lot with me. One would often have to try to make the best of bad situations. Generally speaking the idea was to normalize things as much as possible.

My own feeling now is not to change much in the set up. My bridges are very standardized in height and cut out. I can get more bang out of E string selection than messing around with cut outs.

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Commenting on MN is sometimes like trying to catch a moving train. Sometimes it's better just to wait for the next one.


"a moving train" - hah! 

I find that, often, the discussion is either kept strictly 'on track', or what is being discussed simply gets "lost".

Many different people, many different opinions.

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