Florian Posted June 16, 2017 Report Share Posted June 16, 2017 What are the reasons for that all modern instruments have a solid piece of ebony? All fingerboards were veneered in the baroque era but why did they stop doing this? If there aren't that many differences then why don't we start veneering our fingerboards again to save the threatened ebony wood? Quote Link to post Share on other sites
Carl Stross Posted June 16, 2017 Report Share Posted June 16, 2017 50 minutes ago, Florian said: What are the reasons for that all modern instruments have a solid piece of ebony? All fingerboards were veneered in the baroque era but why did they stop doing this? If there aren't that many differences then why don't we start veneering our fingerboards again to save the threatened ebony wood? Most of the ebony consumption is flooring, furniture, carvings and general decoration in Asia. Fingerboards don't even register. Quote Link to post Share on other sites
FiddleDoug Posted June 16, 2017 Report Share Posted June 16, 2017 A fingerboard is not a simple curved shape. it also has end to end scoop. Unless you were using a very thick (1-2mm) "veneer", that shape would have to created on the base, and then the veneer would have to be conformed to the shape. It would probably also mean that the fingerboard couldn't be dressed after wear. Quote Link to post Share on other sites
nathan slobodkin Posted June 16, 2017 Report Share Posted June 16, 2017 Because in the 17th century materials were expensive and labor was cheap. Making veneered boards is time consuming and they don't last. In todays world the cost of the ebony is small as compared to the labor to make the board and the extra labor of veneering is cost prohibitive. Quote Link to post Share on other sites
Nick Allen Posted June 16, 2017 Report Share Posted June 16, 2017 A veneered FB is much higher maintenance than one solid piece. Plus, a solid FB has the added benefit of being able to be re dressed many times. Humid climates may not lend well to a veneered FB either. Quote Link to post Share on other sites
JacksonMaberry Posted June 17, 2017 Report Share Posted June 17, 2017 Another consideration regarding veneered fingerboards in baroque style instruments is weight. Were you to make the whole unit of ebony, it would be very fatiguing on the player. Considering the neck angle on the modern violin, not much ebony (heavy stuff) is required. Quote Link to post Share on other sites
Carl Stross Posted June 17, 2017 Report Share Posted June 17, 2017 23 hours ago, FiddleDoug said: A fingerboard is not a simple curved shape. it also has end to end scoop. Unless you were using a very thick (1-2mm) "veneer", that shape would have to created on the base, and then the veneer would have to be conformed to the shape. It would probably also mean that the fingerboard couldn't be dressed after wear. One can scoop before veneering. Works fine. Veneering is done by hammering on thick glue - instant and very powerful bond. Quote Link to post Share on other sites
JacksonMaberry Posted June 17, 2017 Report Share Posted June 17, 2017 8 minutes ago, carl stross said: One can scoop before veneering. Works fine. Veneering is done by hammering on thick glue - instant and very powerful bond. I think Joshua Bayer once suggested to me that the scoop be applied first. Makes sense to me. Salve Håkedal describes a method for gluing the veneer to the spruce core with rope as a clamp. I suppose the hammer method would work as well. Quote Link to post Share on other sites
Carl Stross Posted June 17, 2017 Report Share Posted June 17, 2017 Just now, JacksonMaberry said: I think Joshua Bayer once suggested to me that the scoop be applied first. Makes sense to me. Salve Håkedal describes a method for gluing the veneer to the spruce core with rope as a clamp. I suppose the hammer method would work as well. The hammer method was much better but needs some experimentation and some practice AND a very reliable source of glue. The rope method is used too in the repair of certain musical things. Quote Link to post Share on other sites
Will L Posted June 17, 2017 Report Share Posted June 17, 2017 On 6/16/2017 at 1:27 PM, Florian said: What are the reasons for that all modern instruments have a solid piece of ebony? All fingerboards were veneered in the baroque era but why did they stop doing this? If there aren't that many differences then why don't we start veneering our fingerboards again to save the threatened ebony wood? I'm not enough of a maker to know if you'd save any ebony or not. And I don't know if you are talking about veneering for looks or for structure. But it seems like a good idea for preventing warping, depending on how it was done. The problem, off hand, would be how it would look and wear with a sweaty player. The principle of lamination for adding stiffness and preventing warping was discussed regarding two piece maple necks here: I don't know why the principle wouldn't work for the fingerboard, too. Quote Link to post Share on other sites
Carl Stross Posted June 17, 2017 Report Share Posted June 17, 2017 59 minutes ago, Will L said: I'm not enough of a maker to know if you'd save any ebony or not. And I don't know if you are talking about veneering for looks or for structure. But it seems like a good idea for preventing warping, depending on how it was done. The problem, off hand, would be how it would look and wear with a sweaty player. I'm busy re-doing an about 1900 German violin - the usual thing. It has seen plenty use and the fingerboard was painted maple. The paint went off at some stage but the wood is just fine and seems as good as ebony - I'll send you a pic. With my limited experience I did not find ebony to be particularly resistant to wear induced perspiration. African blackwood is but it's not available in fingerboard blanks. That's the wood clarinets are made from. Quote Link to post Share on other sites
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