Showing posts with label VSO #5. Show all posts
Showing posts with label VSO #5. Show all posts

Monday, April 5, 2010

VSO#5 ep.14

i had a few hours to work on the neck this afternoon.
here's the other side:

i'm getting closer. working without guide lines can be fun. the symmetry is a little off, but its too minor for me to worry about. i kinda like it that way to be honest. a sterilized scroll can be boring.
 
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giving Blu Cantrell (awesome vocals by any standard) a run for her cash... Rhiannon Giddens *killed* this cover. OWNED. opera training sure came in handy...

i'll be back.  

Tuesday, March 30, 2010

VSO#5 ep. 13

making a fiddle requires different skill sets at various stages. for the head, you have to be more wood carver, for the neck, you need to be more fiddler. the head is the most insignificant part of the instrument. but like in life, the least important thing happens to demand the most attention. you could lop the head off a fiddle and it wouldn't sound any different, but it would look darn funny coz everyone is expecting to see a familiar scroll there.

many players tend to like interesting and different treatment of the head. many makers like to stick to the same boring thing. i can't tell what i really like more, the traditional scroll, or anything but the traditional scroll. but check it out: its not a new thing, since Gaspar da Salo, fiddle makers have been adorning their instruments with carved heads like the gambas of the renaissance. other ethnic and folk instruments of many other cultures beyond Western civilization, some of which have changed little in a few hundred years are decorated by the makers fancy. i've done 2 traditional scrolls already, i'm not very good at it, and should carve more for practice, but they bore me, to be honest.   

here you see i've cut out the suggested outline of the neck:
next i draw in some other lines. the thing is, i never learned how to use templates like a real maker, so i draw free hand what i want to carve directly onto the maple block and i cut, check, draw some more and cut again:


as the lines get cut off, i begin to rely on imagination:
and it just gets uglier:


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i'll be back...

Wednesday, March 24, 2010

VSO#5 ep. 12

lol

the ribs are too tall. the sound is nice but weak. so i'll take a couple of mm's off to see if it'll be any better.


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should have gone to film school. 5 stars for awesomeness!
...

Tuesday, March 23, 2010

VSO#5 ep. 11

the sound box has been assembled temporarily. i also made a really grotesque neck reject complete with a fingerboard made of pine from discarded shipping pallets. i will post the monstrosity as soon as glue dries....for now, my neck pattern looks like this:


i'm expecting living expenses to go up dramatically this summer. i'm gearing up for the worst. this fiddle making hobby is awfully expensive and i may have to stop for a while, while i regroup and try to make more money. oh well, what'cha gonna do about it? at least i still have a roof over my head and food to eat.

 maybe i'll blog about something else for a while.

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when feeling awful blue, play some Bechet, it helps. 
.....

Saturday, March 20, 2010

VSO #5 ep. 10

the woods i ordered arrived. but i don't like the color of orange wood and padauk is too rough grained for pegs. the cherry is ... not my favorite. i want to keep the woods but i will have to find other woods for the fittings i want to make. 



the ribs went on the other day. the next step is to glue in the lower linings and close the sound box temporarily and glue on a makeshift neck for a experimental set-up. i'll be able to figure out if i like the sound and change the rib height if i think its too high. 


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awesome
...

Monday, March 8, 2010

VSO#5 ep. 9

as it stands to date:


the sides are all bent and "ready". well... we'll see...


i have a love/hate relationship with hide glue. but i guess its like being married. sooner or later, can't live with her, can't eradicate her (lawfully). ~sigh...

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those bow arms! those fingers!  Natalie MacMaster and Donnell Leahy on TED
to be continued

Wednesday, February 24, 2010

VSO#5 ep. 8

and we're crawling... crawling ... crawling...

 

the blocks went on a couple of days ago. normally i hate corner blocks and prefer cutting corners, but some insanity came upon me and i glued on a few corner blocks.  




a few thoughts also came thru' about the pegs i want to put on this VSO. thinking about using Argentinian osage orange wood or maybe paduak... can't make up my mind... i guess it all depends on how dark the finish is going to be eventually.    

 

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sublime...
to be continued...

Saturday, February 6, 2010

VSO #5 ep.7

"graduating" the back is done with the help of my marking caliper. which has a resolution of + 1mm. so depending on how much coffee i had to drink today, the back is either 2 or 4mm thick. 

 

getting closer....


i never said i was precise.....

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violist Ken Hamao, performing Wieniawski. accompanied by James Lent.
eh... wow?
to be continued...

Sunday, January 31, 2010

VSO #5 ep. 6

i'm starting to wonder if i'm ever going to finish this project, there's so much i have planned to do in 2010 and i'm stuck on this VSO. 

 


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to be continued

Friday, November 20, 2009

VSO#5 episode #5

i'm having the worst cold of my life. my head has been in a bubble for 6 days now and the computer screen looks blurry. so i've pick today to update VSO#5,  since i haven't been to work, school or lessons... ah, why not?

it is time to graduate the top. by that i mean its time to reduce its thickness to tolerable standards. here's the gadget i use:

its no rocket science and i didn't invent it. on one prong of the tuning fork gadget is a stationery rounded dowel. on the othe prong is a pencil stuck in a hole, it is movable so that the distance between the rounded dowel tip and the blunt pencil tip can be adjusted to oh ...say 3mm or whatever... if you pass a thin plank of wood back and forth between the prongs, anything thicker than 3mm will be marked, anything thinner than 3mm won't. piece of cake. looks like this in action:


my next to last pass looked like this:




it is time to mark the sound holes using the high tech method of pencil and tracing paper:


we can begin cutting the holes by stabbing it with a screw driver:




and we can cut it with all the sharp little toys you can buy at the local hobby store:

this finished massacre looks like this. note the holes are not balanced. but i couldn't care less. my cold is killing me. not to mention how they look has no provable effect on sound anyway.

  on we go. to make the brace thing that goes underneath the top, i have this stick of quartered spruce which i cut a piece off.:

next comes the rough fit. i do this by looking at the top, looking at the stick, looking at the top again and then winging it with a small plane. i'm sure there are more scientific and efficient ways of doing it, but until i learn them, this works best for me.





the real fitting is done like this. first i mark the the stick, then i lay a long strip of sand paper on the top that has now been clamped onto a form to keep it flat. the stick is pushed back and forth lightly over the sandpaper for 15 mins or so until all the markings disappear :





 


 

the brace is glued onto the top, next it is carved and finished out. :







Ta Da: 
 








here's something about the Chi Mei Foundation in Taiwan. it houses some of the world's most precious fiddles of antiquity.

note: Taiwan (the Republic of China) and China (People's Republic of China) are two separate entities.

my rough translation:
国立故宫博物院、奇美博物馆与中时集团时艺多媒体合作,将于9月26日起于故宫推出《 绝色名琴─奇美博物馆提琴珍藏展》,系统性陈述世界名琴400年来的发展史。

The National Palace Museum, Chi Mei ( which translates roughly to "wondrous beauty")  Museum and China Times Group Multimedia has teamed up to present an exhibition on the 26th of November at the National Palace Museum called 《 the Legend of Italian Violins - Treasures of the Chi Mei Museum 》systematically detailing  the past 400 years of history of the rare violins in its collection.

《绝色名琴─奇美博物馆提琴珍藏展》将首度公开展示奇美珍藏多年的义大利顶级提琴:4 0把包含「阿玛蒂」(Amati)、「瓜奈里」(Guarneri)、「史特拉底瓦里」(Stradivari)家族在内的价值千万名琴,搭配画作雕塑,将带给台湾民众绝 佳的艺术体验。

the 《exhibit》 will for the first time display to the public, 40 instruments worth millions of dollars by master luthiers such as the Amati, Guarneri and Stradivarius families. Matched with paintings and sculpture, citizens
of Taiwan will be able to learn about and experience for themselves rare treasures of unrivaled artistry.

国立故宫博物院院长 周功鑫:「透过琴的展示,结合绘画、雕塑工艺、让琴的本身不再是展示品而让他全方位的 承现。」

National Palace Museum President Chou Kung-hsin ( spelled Zhou Gong Xin in the pinyin system, speaking in Mandarin): "with the exhibition of the instruments accompanied by paintings and sculpture,  [cut] they (instruments) will not be viewed as merely objects on display. A fuller experience will be revealed. "

特展中除了13把备受瞩目的义大利3大制琴家族提琴,尚有一组全球唯一收藏于同机构的 「马吉尼四重奏」琴组。在3日的记者会上,邀请台南艺术大学4位教授现场为大家演奏。

besides 13 most admired instruments made by  the 3 Italian master luthier families, there will be on display, the world's only string quartet of instruments by Maggini. At the 3rd (of Sept?) press conference,  four professors from the Tainan University of the Arts were invited to perform on these instruments.

奇美集团创办人 许文龙:「尤其在音乐里面,任何一个国家关于音乐的事情,音乐里最重要的是小提琴,琴 的事会想到台湾。」

Chi Mei Group Founder Hsu Wen-lung ( spelled Xu Wen Long in the pinyin system,  speaking in Taiwanese ) "In music, in any country concerned with music, the most important instrument is the violin, [cut] so in all musical concerns, we all thus think of Taiwan."

奇美博物馆自1990年开始收藏名琴,至今收藏450把,是全世界提琴收藏排名第一的 收藏单位,这些举世难得一见的臻品,已成为国外音乐界及收藏界所钦羡的台湾特色。

the Chi Mei Museum has been collecting fine instruments since 1990, It has now 450 instruments, making Taiwan home to one of the world's most admired premier collection of fine instruments.

新唐人亚太电视 孙帼英 史进旺 台湾台南报导

New Tang Dynasty Asia-Pacific TV   孙帼英 史进旺  reporting from Tainan, Taiwan.


cheers... excuse me while i go OD on orange juice.

Monday, October 26, 2009

VSO#5 ep. 4 1/2



found myself practicing a little more these days. some of the technical problems i'm having seems as obstinate as this cold i've had on and off for 2 months. as for VSO #5, the only progress to report has to do with getting an early start to the recurve, or i think some would call it the scoop, i'm not sure about violin terms because i'm not a violin maker, but the picture should speak for itself:












sob sob...
to be continued

Thursday, October 15, 2009

VSO#5 ep. 4

  

the purfling finally got glued in.
the edge will be reduced after this...












to be continued...

Thursday, October 8, 2009

gotta be kidding!!??



??!!

if you are on a long journey, and you are new, it's your job to slay at least a few dragons on the way... you are expected to! i came across the lizard in the picture above and feel like it's my destiny to piece it back together... kidding. no way!

so VSO#5 has grounded to a halt due to this thing called "life". how inconvenient.

 

this is where i'm at. the art of purfling inlay continues to elude me. i get nightmares thinking about purfling. i get nervous and usually postpone the operation at least twice before i actually do it. you see, i use a purfling router (1.27mm bit for the 1.3mm purfling) and jig that cuts so fast, a slip of the hand means all the work prior just went down the drain. i can do it by hand, but it takes me 6 times longer. missing in the picture is my dead luthier's foot pedal switch. it helps to ease the anxiety a little without having to fumble for the on/off switch after cutting. plus if i had a heart attacking and die while routing, at least the damage to the work will be mitigated somewhat... the Wecheer rotary i use will take all the bits and jigs made for the Dremel tool.

i use violin fiber purfling as opposed to wood purfling. i wanted to make violins one time and ordered a bunch dirt cheap from here, i remember they used to have stuff i could afford... so until my violin purfling gets used up, it's violin purfling on everything. with wood purfling, i can pound the sucker into the channel and later scrape clean for definition. i am reminded of the work of a violin maker whose violas i would kill for. Feng Jiang based in Ann Arbor, turns this turns into this .WOW.

wood purfling kept breaking on me until i discovered stupidly quite recently that it might work better if i bend them first. fiber installs right away and i can get away with murder. BUT i found out (the hard way) that if i pound fiber into the channel, the black outsides take on the shape of the walls of my badly cut channels. this mauls the line and definition of the purfling and makes it look like its about to throw up.

me and my router can't do corners so those are done by hand with a x'acto knife and channel tool. equal treatment for the back.

in short, purfling = hell
 

to be continued

Monday, September 28, 2009

VSO #5 ep.3

continuing with the top...

it's been a couple of days and i think the top and wedge sandwich is fairly dry. when the clamps are released, i get this:



 if i put them next to one another, i get this:



not exactly usable :) its time to shoot the planks on my make-shift shooting board:



the joining begins when no light peeps through the joint when both boards are held together. joining is done with crazy glue of course. one board is nailed to my bench and the other is pushed against it. crazy glue is squeezed onto the seam and the glue shoots through very quickly, accelerator is sprayed onto the joint to make the glue dry instantly. excess wood is cut off with the band saw.



the back is now nailed onto the over-sized top temporarily. this way, i can file the edges until both the top and back look the same. i pencil some purfling on the top is see how the corners look.




to be continued...


Saturday, September 26, 2009

VSO #5 episode 2

its time to make the top.

i bend most of my tops, as oppose to carving them. more info can be had about bent tops here:
Athanas Lolov  http://www.jstor.org/pss/841136
Charles W. Gadd ( http://www.scavm.com/Gaddbd.htm)
William Fulton (SCAVM also)
Helen Michetschläger (http://www.helenviolinmaker.com)
David Langsather (http://www.dalemfg.com/opus_019.htm)

there is brief mention of it here:
http://www.maestronet.com/forum/index.php?showtopic=120833


my process here is more limited and archaic. it starts with a pair of book matched sitka guitar tops i bought from Bob Tibbetts. i like his stuff the best. he calls the planks i prefer "grade 3", the lowest quality he sells, but they are great for bending, and the wide grain has a very "viola" look to it.

the stability of bent tops is questionable. it seems logical they "unbend" or warp over time. in my limited experience, i have to say i have never seen an old top that wasn't warped in some way, so i am not really concerned. i still have a top i bent and glued together with crazy glue in 2007 that i put on the dashboard of my car for months just to see if it'll hold. it did, and that's good enough for me.

to bend these planks, i will need a bunch of clamps, some clamping cauls, wedges to force the planks to arch and a heat gun to steam the planks into shape.



after the viola form is drawn on the thin planks, i cut them out with a band saw and soak them in a (dirty) shop sink of water overnight.


i start the clamping process the next day first by clamping the ends lightly together and forcing the planks apart at the center with a wedge, taping it in with a hammer a bit at a time while heat is applied, along with water from a spray bottle.



more clamps and wedges are added and adjusted to get the shape i want. in this case, a split crack has occurred at one end on one of the planks. i decided to continue with a quick fix involving forcing glue in the split and then spot wedge/clamping the sucker.








i am cautious about forcing the planks to bend any more because of the crack. thus arching is maxed out at about 15mm. which means it'll shrink back to 13mm or so after it dries. some planks will allow me to get as much as 18mm+ out of it, some planks somewhat less. i use whichever by happenstance.



to be continued...