DoorMouse

J.DiLisio's Bench

Recommended Posts

Here’s the DG Baltic model all finished up.

I didn’t use any pigments with this one. Just several thin layers of varnish. My biggest issue was with laying on too thick of a casein sealer coat.  It caused opacity problems and looks whitish where I’ve done antiquing.  Lesson learned ;)

I’m still messing with the setup but so far it’s a blast to play.

CAB54174-7B5C-40B3-B56B-9851F1259F5A.jpeg

1DD15F37-A657-4E92-8226-C8A9B9431D81.jpeg

48F9A4CD-F0C1-4374-A881-09B4B63FD463.jpeg

80334A15-F503-461E-9B68-C05FF621B41F.jpeg

07431D2F-7DF4-4B90-89B3-41040EFB7A63.jpeg

0E743315-9BD9-4F11-8A8F-4E801658752A.jpeg

B0220D3D-F9FA-4F6C-9979-A3561CB6EC8D.png

The spectrum graph shows peaks at 284, 449, and 537 which seems to be about right for a DG model according to the data at platetuning.org

Share this post


Link to post
Share on other sites

It looks like you use Audacity for the spectrum plot. Can you talk a bit about how you setup the violin and execute the test? Currently, I hold the violin in playing position and do glissando up and down each string multiple times while bowing with just enough pressure to get the strings to sound fully. 

Share this post


Link to post
Share on other sites

I’m muting the strings and tapping the top and sides of the bridge with a rubber mallet.  I tried glissando’s and the peaks seem more defined with the tapping.

Share this post


Link to post
Share on other sites

Thanks, this is my 11th attempt.  I'm starting to get pretty consistent results with how they sound but I recognize that there's plenty of room for improvement all around.  If you see any glaring issues, problem areas, or suggestions, I'd love to hear it!

Share this post


Link to post
Share on other sites

Just rough cut a back I’ve been excited about carving for a PG model strad..

51343B73-1030-466B-B34F-8ABE50711C6D.thumb.jpeg.7fe3daabf9a9663dac8b7fe0674741c3.jpeg

..and here’s some freshly jarred 4:1 varnish with lots of turps.  I ended up thinning down the last batch every coat so I’m aiming for this one to be brushable straight from the jar.  

02A412B4-8EEE-44C2-99CE-447E7EA8CFEB.thumb.jpeg.7f6a912ca69b6b75ea0515dbdf091664.jpeg

Share this post


Link to post
Share on other sites

Here’s a progression of the back..

outline roughed out54746613-7F28-42D5-9294-E28884DB6D57.thumb.jpeg.7d2a490c71e04333ae9b81e08bfc4401.jpeg

establishing edge height and plate depth32742FF0-3BE1-4962-BE96-D6AB182AA50C.thumb.jpeg.a0bb9049844ddd661c62fe5bf8dc2a5f.jpeg

Establishing arches7F42B3EC-2820-4224-9E31-CEEFE6A10CC8.thumb.jpeg.4e7654f0b485df31606883eeeb62ab01.jpeg

Smoothing with a toothed thumbplane2B0E5B36-8D03-44BE-9457-EA6384E2421B.thumb.jpeg.679d5e5ad353e5d6dd55c5f618e1e40a.jpeg

Scraping out tool marks59112E15-B7A5-414D-83B8-DD8A8E2D1D0F.thumb.jpeg.78d742c114187d8d1bcda933e4ff459d.jpeg

Establishing outline/locating pins46F40D49-405A-4A55-932A-1BC5428E4A01.thumb.jpeg.2ac9e034c9b645d1ff5da3e5cadfae9c.jpeg

Routing purfling channel 9A6045AD-7F83-4D06-BA4B-16D73E491CF1.thumb.jpeg.550769782ccc5c65001e7bb06169a8d3.jpeg

Share this post


Link to post
Share on other sites

I’ve skipped a few steps here but this is after inlaying the purfling, carving the channel, and lots of scraping.

566B31F0-019A-42B7-8FB8-E774C6F079AA.thumb.jpeg.2eaf55c31a9175598c5e4749e34452f7.jpeg

I’m happy that a knot showed up to disrupt the uniformity!

I should add that the black tool you see at the top left is a balsa stripper.  You can set the width and depth of the blade for scoring or making strips. I find it useful for starting the platform around the edge.

Share this post


Link to post
Share on other sites

This is my first test of using a Potassium Permanganate solution as an oxidizer/stain.  So far I’m loving the color but I’ve read that it can fade quite a bit. 

Any pointers on how best to use the stuff would be appreciated.

29B5ABE3-DF98-405C-B17D-9E7E901A81B0.thumb.jpeg.282e8b4950a45995854274e4b74d6d70.jpeg5F5667D5-3BB8-41D6-B583-621AADBD6403.thumb.jpeg.75451d1d7e12c2b848bdc6d9d53cf79f.jpeg

Share this post


Link to post
Share on other sites

I've used it to dye powder horns and it does fade over time.  On the other hand I dyed some rattle snake vertabre with it and they are still quite dark.  Made a hat band out of them.   I don't know what it will do on wood long term.

 

Share this post


Link to post
Share on other sites

Wow, sounds like a cool hat!  I’m planning on blasting a few samples (varnished and unvarnished) in the UV cabinet for a couple weeks to see how much the color changes. 

As I understand it there is some amount of oxidation taking place and also some amount of staining so maybe it’s the staining that fades.  There’s no burning in with the flames from what I can tell.  

Share this post


Link to post
Share on other sites
On 11/10/2019 at 2:26 PM, finnfinnviolin said:

How does it look on spruce? 

It’s a little uneven here from applying to dry, bare wood but the color looks about the same as the maple.

31ACC2AF-6166-49AD-9904-A3858710562D.thumb.jpeg.f40811a3ddc67b0aff8f92aba612b35f.jpeg

I’ll check back in a couple of weeks to report on any color fading.

The next test will be applying the stain both on top and below a casein sealer to see what works best.

Share this post


Link to post
Share on other sites

I thought I’d share my first foray into ukulele building. This is a baritone that I designed that’s inspired by the ukulele’s parent instrument, the Portugese machete. 

 I approached the project using the methods that I use to make violins and without much research. For the most part it’s working out.  The only special tool I’ve needed so far is a flush cutter for the fret installation.  

 I’ll post a photo once it’s all polished up. 

 FA9E8FCA-D130-4B82-B4DF-8BCA9A1EC0B2.thumb.jpeg.37636a5250c268b5ce1c3d8a23e6a54c.jpeg95B29C38-0BF8-4A98-83E5-EDD3184556D0.thumb.jpeg.cc7d31eab9eddbe6eb553fc0db185339.jpeg

Share this post


Link to post
Share on other sites

I just finished up my Baritone Uke/Machete.  There were definitely some bumps along the way but overall it was a fun process to stumble through.  It took about two weeks of work whereas a violin takes me at least two months.  I realized that the body outline I settled on is coincidentally, almost the same shape and size as a Strad violin form.  The instrument is resonant and projects much more than the 1950's plywood baritone I've been playing. 
The finish is casein sealer, stain, and french polish.

 MacheteFrontAngle2.thumb.jpg.02e150835a5fe73c64cb8c1e7fac70ed.jpg

MacheteFrontAngle1.thumb.jpg.e8ddab98b58ea3e39c5505fec0ff8618.jpg

MacheteBackAngle.thumb.jpg.55413718c5faa26703c9d81fb01601ed.jpg

MacheteBack2.thumb.jpg.a3826f413eeed189bcdde25385cc4b47.jpg

Share this post


Link to post
Share on other sites

Nice.  I built a 1/2 scale guitar for the Grandsons on a reduced size Stradivarius Sabionari guitar.  I didn't realize then that he had a bunch of forms and patterns for guitars.  It is slightly smaller than the MM.E 901.5 that a chart I have says it should be pitched  in F.  I put a twelve fret neck on it.  Half scale guitar strings, minus the low E.  I made it thicker than I would for me, but 4 boys?  

I'm planning to make a proper copy with the same mold.  A chart I have suggests pitched in F for a 23" (580 mm) scale.   This one will have a 21.25" (540mm) scale.  A 600mm scale is in G,  I don't know why F is suggested. They must have given it a longer neck too, because according to the chart the 901.5 is only 16mm longer than the one I drew up. Mine will only have 10 frets to the body.  I think mine will be in A.

I fits into a baritone ukulele case.  I found a baritone with a case for $5.00  at a garage sale, and fixed the loose neck, and cracked ribs, and gave them both to the boys. Hey, the case was with 5 bucks.  The body of the guitar is 370 mm long.  I'm going to use maple cello ribs for the body, and the last piece of 100 year old red cedar barn wood for the belly.  

Making different instruments is fun.  You have to think a lot more.  And as you said, little guitars don't take a lot of time.  The neck was the hardest part.  This one will have tied frets.

I like how the pattern on the bottom of the belly is reversed on the fretboard.  Ties it in.

Share this post


Link to post
Share on other sites

Hey ken, I'd love to see the mini Strad guitar you built.  What's your source for the forms and patterns? Are they in the Pollens book?  I'd like to learn more about the weird inbetween sized instruments that didn't make the evolutionary cut. 
I'm actually just getting started on a baritone uke/ strad guitar hybrid.  Just the four strings but longer scale length (60cm) and built in the style of a baroque instrument.  
One of the things I don't really like about the uke I just finished is how the neck meets the body at the 12th fret.  I like to play a little higher sometimes so I decided to go with a longer neck but keeping the body around the same size.   I play mostly early jazz and oldtime so I'm more concerned about making something that's fun to play than authentic.. for now at least. 
2015960255_ScreenShot2020-01-08at1_53_46PM.thumb.png.107d4c7bf144d21b2c57e55072a7c960.png

Share this post


Link to post
Share on other sites

I drew mine up from photos.  I have a pdf of an article by Jan van Capplelle from the GAL; I think that's where it's from.  He found the scale unit, 40.25 mm to the inch for the forms.  I don't know if it is right, but the article is good, and all the dimensions are given.  It's kinda large, we'll see if it loads.  There is a plan for a baby instrument.  

My drawing has a similar motif at the bottom to yours.

It uploaded!  If it doesn't work; I just found the article on line!  It's pretty good.

https://thedutchluthier.files.wordpress.com/2016/11/stradivari-article-al-122-lr.pdf

Getting tone wood from people who don't know what you're looking for usually results in very few pieces.  I would just look for pieces cut through the center of the tree.  I did get the two small tops, but that's it. WR Cedars don't get that big anyway, do they?  

I'm just re-learning, and haven't gone past g yet!  but the pieces by Carulli have all of my fingers moving at the same time.

stradivari-article-al-122-lr.pdf

20200108_152500.thumb.jpeg.ed0fc615da04cffcde3cfa832b2ca0f2.jpeg

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

Loading...

  • Recently Browsing   0 members

    No registered users viewing this page.