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#167
08-03-2015, 06:03 PM
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People have tried just about anything you can think of. Because the bow gives constant power input, unlike a plucked string, the positive connection to the back that the sound post provides is a wonderful thing. As with acoustic guitars, but more so with the violin, the back is the key to great tone IMO.
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#169
08-05-2015, 08:09 PM
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Today I sprayed what I expect to be the final coat of Varnish on the JZ-16. Picture would look much the same as the first coat, so more on that when i put it together in a couple of weeks.
I also closed the violin this morning, and this afternoon I have gotten about halfway though the channel process on the back. This is where much of the magic happens in a carved instrument as it releases the back to be able to resonate with the top. I am taking the edges of the back down to around 2mm from the roughly 3.5 mm they were when I glued it to the ribs. Firt I use a gouge, and them fair it together with a variety of scrapers. Here's the label, the last thing before closing:  This is as good a time as any to admit that I have made a creative ff hole for a violin. But I have a friend with a Tony Lane violin that has such liberties, and it sounds great to me. Here in the bass bar on the inside of the top:  And, here are the channel gouged in the bass half of the back, being close to faired on the treble side: 
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#172
08-06-2015, 03:12 PM
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Quote:
I have got the body of this "violin" as close to right as I currently know how to do, so it's on to the neck. 
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#174
08-06-2015, 07:47 PM
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Quote:
__________________
A bunch of nice archtops, flattops, a gypsy & nylon strings… |
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#175
08-07-2015, 04:04 PM
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I have finished the major woodwork on the violin, and here it is with my secret Cremonese pre-ground freshly applied.
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#176
08-07-2015, 06:08 PM
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Good News!
The carved instrument distraction is about to stop!!! As you've surely noticed, when one goes into finish , I start another, and the violin has gone into finish.
The bad news, however, is that it is going to be a classical guitar. I have made three, and the last was for Duck Baker, more of a modern flamenco/Jazz guitar, really, but it looked like a classical and did have nylon strings. Incidentally, I thought it worked very well, particularly for Duck's style. This will be a true Classical to the best of my ability. I have been thinking about this guitar for some time, and I will start it in a day or two, most likely. Here is the first coat of varnish on the violin:   
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#177
08-07-2015, 06:29 PM
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Love dat finish (wonder why...
)I look forward to seeing you apply your lutherie skills ata classical. So much of your steel string method is ground in that tradirion.
__________________
A bunch of nice archtops, flattops, a gypsy & nylon strings… |
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#178
08-07-2015, 09:05 PM
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Pretty impressive to watch it take shape. I have always liked your finishes, Bruce. Both visually and functionally.
__________________
Circa OM-30/34 (Adi/Mad) | 000-12 (Ger/Maple) | OM-28 (Adi/Brz) | OM-18/21 (Adi/Hog) | OM-42 (Adi/Braz) Fairbanks SJ (Adi/Hog) | Schoenberg/Klepper 000-12c (Adi/Hog) | LeGeyt CLM (Swiss/Amzn) | LeGeyt CLM (Carp/Koa) Brondel A-2 (Carp/Mad) |
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#179
08-07-2015, 10:15 PM
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Bruce, I like that you made your own purfling. At least it looks like the same material that appears on your guitars. And those inlaid "notches"!
Steve |
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#180
08-08-2015, 01:59 PM
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Yep, same purfling as my guitars!
Getting back to the FT-15-D (mini-D) you may recall, which has had weeks of curing time: 
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