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Nick Allen

Nick Allen's Bench.

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On 9/21/2019 at 8:46 AM, Mike Spencer said:

Nick that’s a real nice looking scroll! Craftsmanship is great and shape and details excellent. For new looking fiddle, one small nit picky suggestion is about the pegs. When using ebony pegs sometimes (most of the time)  the ebony is brownish under the stain that comes on them. Once the shafts are shaved try blacking them with what ever you are using on your finger boards. Well done sir!

Thanks Mike! 

That's a good idea. This fiddle is gonna be on display in a storefront and I want the best first impression possible. And those brown peg shafts could break that. I wonder if my archival black ink that I use for my labels would work...

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Soft black-brown can look good, especially when the shaft and head are congruent.

I burnish the shaft with well-used fine sandpaper (1000 or higher).  Nose grease is cheap, organic, renewable and, in my case, non-GMO.

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On 9/22/2019 at 4:28 PM, Janito said:

Soft black-brown can look good, especially when the shaft and head are congruent.

I burnish the shaft with well-used fine sandpaper (1000 or higher).  Nose grease is cheap, organic, renewable and, in my case, non-GMO.

I've got nose grease on lock. I actually use my greasy hair to sort of burnish and color my bridges when I'm done cutting them. It gives them a nice look. 

I usually go with 600. But 1000 could be good after the 600.

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On 9/23/2019 at 6:06 AM, Mike Spencer said:

I use India ink. Wipe it on and wipe it off. Then Janito’s suggestion of nose grease is a good one. 

Keeping it simple. I'll just go with my label ink. It's fade resistant too. 

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Trying to really refine my edgework. All about fine file work. I envy the guys who can do clean edges in a couple of swipes of the file and sandpaper. 

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7 hours ago, Jim Bress said:

Very clean!  I was taught to put the inside of the bevel half way between the edge and the purfling. FWIW. 

-Jim 

Thanks, Jim. 

I think you're right about that. But I've heard a few different proportions, from 1/2, to 1/3, to 2/5. I suppose it depends on the relationship between the edge thickness and how far the purfling is from the edge. On a normal violin with 4.2mm edges and purfling 4mm in, a nice 45° chamfer about 1/2 way in would do to start. But my guy here has 3.8mm edges, so I have to keep the chamfer farther away from the purfling, which is around 4.2mm from the edge. 

Michael Darnton came to the conclusion that the Cremonese must have used the purfling cutter to mark the edge thickness too, at the same offset. This I did not do, but will in the future. I'm attracted to thinner edges myself, but can't make myself put the purfling out that far to boot. But if I want that classic look, I have to play by the rules for now!

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Working on the top fluting. Trying to get a nice smooth scoop to work with. I'm learning that if one does as perfect of a job one can with the larger tool, then work with the smaller tool is made much easier. 

But I still haven't found the best way to keep the end grain section from crumpling, despite how sharp my gouge is... So I have to resort to cutting it fat, then working it smooth with a scraper. 

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On 10/21/2019 at 11:33 AM, Ernest Martel said:

Nice work! That edgework will look great with a pristine varnish job. Hopefully you won't be wearing it down too much if antiquing. Purfling looks great too.

Thanks E. I'm gonna try and keep this all as clean as possible. I actually redid the edge tonight to give it a more "Cremonese" look, hopefully. I've noticed that in profile, the edges kind of slope more shallowly on the top curve, so I tried to emulate that. 

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Oh and B T Dubs the fluting in the purfling channel on either the top (obviously) or back isn't done yet. I'm trying to do edgework with the plate off of the body from now on, but I've decided to leave the fluting unscraped to account for any marks left by the clamps.

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