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H.R.Fisher

Edge finishing ?

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  I would like info on strad plate edge profile / cross section.. Also what methods are used to acquire that smooth edge especially on the spruce.

                                                                                                                          Thanks in advance      Henry

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This is my theory on the Stradivarian edgework (well at least I do like this:)).

 

 

Here the complete series on "how to" (six videos) :

https://www.youtube.com/watch?v=JCc9SfFiiuY&list=PLaxadm6POX7F_lHfnDqUFp3dfzareI_Ln

Of course if you really want to be historically correct you should change sandpaper with dogfish skin and do all the work on the closed soundbox with the neck attached, not on free plates like I do, but I think that the geometry and the way to get it is that, changing the width of the two primary chamfers to obtain all the  variables found in all cremonese edgework.

 

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2 hours ago, Davide Sora said:

This is my theory on the Stradivarian edgework (well at least I do like this:)).

 

 

Here the complete series on "how to" (six videos) :

https://www.youtube.com/watch?v=JCc9SfFiiuY&list=PLaxadm6POX7F_lHfnDqUFp3dfzareI_Ln

Of course if you really want to be historically correct you should change sandpaper with dogfish skin and do all the work on the closed soundbox with the neck attached, not on free plates like I do, but I think that the geometry and the way to get it is that, changing the width of the two primary chamfers to obtain all the  variables found in all cremonese edgework.

 

I've followed your method to delightful results. Mine is still not as clean, but that helped me a lot. 

Thank you. 

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19 minutes ago, Nick Allen said:

I've followed your method to delightful results. Mine is still not as clean, but that helped me a lot. 

Thank you. 

Mine is probably too clean compared the average of the ancient cremonese edgeworks, but it's part of my style.

So you could perhaps call yourself "more authentic"....:lol:

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20 hours ago, Davide Sora said:

This is my theory on the Stradivarian edgework (well at least I do like this:)).

 

 

Here the complete series on "how to" (six videos) :

https://www.youtube.com/watch?v=JCc9SfFiiuY&list=PLaxadm6POX7F_lHfnDqUFp3dfzareI_Ln

Of course if you really want to be historically correct you should change sandpaper with dogfish skin and do all the work on the closed soundbox with the neck attached, not on free plates like I do, but I think that the geometry and the way to get it is that, changing the width of the two primary chamfers to obtain all the  variables found in all cremonese edgework.

 

Thanks buddy, now I have to get an Italian dictionary! Bloody marvelous work, looks absolutely flawless. 

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20 minutes ago, Mampara said:

Thanks buddy, now I have to get an Italian dictionary! Bloody marvelous work, looks absolutely flawless. 

Open in YouTube and click the "show more" to see the English translation.

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Thanks Jim but I like doing it the hard way. I also like books and learning new languages so it's a win-win situation. Stops me from loosing my last marble....

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Thanks David, Your video is very informative and helpful.

                                                                                                      Henry

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2 minutes ago, Michael_Molnar said:

The Edge geometry is key to a good looking violin. 
 


There are many keys to a good looking violin. Some of it can be about how various sorts of roughness "hang together", and also how various sorts of cleanliness hang together.

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