I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
Red oak? looks like a big chunk of manky plywood to me!
and whats with all the chip out on the holes did you get your grandson to help out in the woodshop.
Teardrop fiddle? I hope it doesn't bring tears to my eyes when I hear you play it
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
Red oak just isn't what I think of for instruments, Dave. The pores give me fits if I don't pore-fill, and even then it's tough to get what I think of as an instrument-quality finish on it.
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
Red oak? looks like a big chunk of manky plywood to me!
and whats with all the chip out on the holes did you get your grandson to help out in the woodshop.
Teardrop fiddle? I hope it doesn t bring tears to my eyes when I hear you play it
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
Red oak just isn't what I think of for instruments, Dave. The pores give me fits if I don't pore-fill, and even then it's tough to get what I think of as an instrument-quality finish on it.
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
Red oak? looks like a big chunk of manky plywood to me!
and whats with all the chip out on the holes did you get your grandson to help out in the woodshop.
Teardrop fiddle? I hope it doesn t bring tears to my eyes when I hear you play it
A little harsh with the humor there, Rob. I'm pretty sure you know that the photo shows the mold on which the ribs are formed for the instrument and not the instrument itself. The mold is made of plywood as you deduced and does not need to be anything particularly fancy.
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
Red oak? looks like a big chunk of manky plywood to me!
and whats with all the chip out on the holes did you get your grandson to help out in the woodshop.
Teardrop fiddle? I hope it doesn t bring tears to my eyes when I hear you play it
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
White oak has tyloses filling many pores, which makes it easier to finish, and the difference between hardness in the rings seems to be less pronounced than in red oak, at least to me.
I think you'll probably do fine with it, but I've had enough problems with red oak (mostly clusters of pores that make for a soft spot in the wood) that I mostly relegate it to things like legs for shop furniture.
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
Hi, Dave. What wood did you use for the neck, finger board and tail piece? I find ebony works well for these but is extremely messy until finished. They take a good work out without a lot of stress. I love your work.
Also, what do you use for the finish on your instruments? I just completed a violin but having it tested now. If it doesn't play it'll make good kindle for my spring fire pit! Then try again…so I'm hopeful.
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
By the way, I found a cool tool for the purfling perimeters for my Dremel. So much cleaner without a lot of finish work once inlaid. There's a lot to be said of the cutting tool and chip tool for the purflings for the knowledge of inlays and tool mastery but once I tried this tool, it's hard to go back to the old process.
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
Hi, Dave. What wood did you use for the neck, finger board and tail piece? I find ebony works well for these but is extremely messy until finished. They take a good work out without a lot of stress. I love your work.
Also, what do you use for the finish on your instruments? I just completed a violin but having it tested now. If it doesn t play it ll make good kindle for my spring fire pit! Then try again…so I m hopeful.
Ah, now my facade of craftsmanship falls! I purchased the neck, pegs, and tailpiece. I am only making the body of the instrument here. While I have made at least one violin fingerboard, and one tailpiece (from mahogany) I wanted to concentrate on the body of the instrument here. For me these are part of a self education process and I don't want to lose my momentum by having to learn every required skill at once.
That said, I've been finishing these instruments with wood stain and spray lacquer.
I've gathered the parts for another teardrop fiddle. I adjusted the form down about 1/4 inch all around and am using some red oak and pine. Even though I already purchased them, I may try making my own tuning pegs on the lathe. For sure I want to put a purfling edge on the top and bottom this time.
First step is always gluing the end blocks onto the mold.
By the way, I found a cool tool for the purfling perimeters for my Dremel. So much cleaner without a lot of finish work once inlaid. There s a lot to be said of the cutting tool and chip tool for the purflings for the knowledge of inlays and tool mastery but once I tried this tool, it s hard to go back to the old process.
I'm planning on putting purfling on this instrument. I've seen the way some use a 'dremmel router" for the purfling channel. It's very efficient, but noisy. I'm going to try doing it with this cool, brass, purfling cutter that I bought a while ago. Wish me luck!
After the end blocks are glued onto the mold, I shaped them roughly with a chisel then refined them with my disk sander. The ribs will be glued to these and later the mold removed.
On my last fiddle I had trouble conforming the ribs to the neck block, so I have made a little form block to help push the ribs onto the neck block. Live and learn.
I would have been further along on this build, but on Sunday we had a power outage just as I was about to get into it. Then it was supper time…
Then on Monday I got called in to work! Yay! I'm essential! Keep breaking instruments, kids!
After the end blocks are glued onto the mold, I shaped them roughly with a chisel then refined them with my disk sander. The ribs will be glued to these and later the mold removed.
On my last fiddle I had trouble conforming the ribs to the neck block, so I have made a little form block to help push the ribs onto the neck block. Live and learn.
I would have been further along on this build, but on Sunday we had a power outage just as I was about to get into it. Then it was supper time…
Then on Monday I got called in to work! Yay! I'm essential! Keep breaking instruments, kids!
Nice. And nice that you're essential as long as kids keep being kids. ;-)
Seems very project I do, I discover something like your form block that I can do smarter the next time around. That's part of what makes woodworking fun for me, I think.
I got the other two rib slats bent and I put them on my mold. I salvaged the scrap pieces of plywood from when I cut my mold out to help shape them with out cracking them.
Okay, if you look hard you can see one cracked part up by the neck block, but it's not a deal breaker. I should be able to make that disappear.
I got the other two rib slats bent and I put them on my mold. I salvaged the scrap pieces of plywood from when I cut my mold out to help shape them with out cracking them.
Okay, if you look hard you can see one cracked part up by the neck block, but it's not a deal breaker. I should be able to make that disappear.
I was able to salvage the one cracked rib by slicing it into 4 parts. Here I am using a Dremel cutting wheel to do the job like a safer, mini table saw.
And then the linings are glued to the top and bottom of the ribs to thicken the gluing surface for the plates. They are held fast with many little clamps.
I was able to salvage the one cracked rib by slicing it into 4 parts. Here I am using a Dremel cutting wheel to do the job like a safer, mini table saw.
And then the linings are glued to the top and bottom of the ribs to thicken the gluing surface for the plates. They are held fast with many little clamps.
I temporarily attach the top and bottom plates to each other using painters tape. After drawing the rough outline of the ribs on one, I cut them out on my scroll saw.
Now I more carefully draw the outline using the ribs held in a better position. I'm using a thin sharpie held away from the ribs about 1/8 inch by a nut. I was thinking I would now whittle away the wood to the line, but I think I may go back to the scroll saw and cut very carefully just outside that line.
I temporarily attach the top and bottom plates to each other using painters tape. After drawing the rough outline of the ribs on one, I cut them out on my scroll saw.
Now I more carefully draw the outline using the ribs held in a better position. I'm using a thin sharpie held away from the ribs about 1/8 inch by a nut. I was thinking I would now whittle away the wood to the line, but I think I may go back to the scroll saw and cut very carefully just outside that line.
Seems the scroll saw is less likely to follow the grain and make a disastrous mistake. Using hand tools, I would probably use my little bow saw, then spokeshave them down flush once they're attached to the ribs.
Picking up from the previous post, I used my scroll saw to cut close to the outline and sanded right to it using my disk sander and a drum sander. I have a 5 inch disk sander and I'm thinking I should jig up a way to use my lathe as a 6 or 8 inch sander.
Starting at the end block, I start gluing the back to the ribs. I put some clamps all around to hold things in place, then I apply glue with a thin pallet knife and put on all the clamps. Using many clamps avoids having to crank down hard on any one of them and risking a cracked rib.
This clamping/gluing process will be repeated for the front, but I have a few things to do with that first.
Picking up from the previous post, I used my scroll saw to cut close to the outline and sanded right to it using my disk sander and a drum sander. I have a 5 inch disk sander and I'm thinking I should jig up a way to use my lathe as a 6 or 8 inch sander.
Starting at the end block, I start gluing the back to the ribs. I put some clamps all around to hold things in place, then I apply glue with a thin pallet knife and put on all the clamps. Using many clamps avoids having to crank down hard on any one of them and risking a cracked rib.
This clamping/gluing process will be repeated for the front, but I have a few things to do with that first.
The F-holes are located using measurements I have in a book. I traced the actual shape from a template I made from sheet aluminum (a lithographic printing plate)
First I drill out the round holes on either end using a 1/4 in. And 5/16 in. bit.
The pros use a fret saw to cut out the slots between the round holes. Either my fret saw is not deep enough, or I find it too fiddly to try and mount the thin blades sideways, but I found that using my scroll saw was a good option.
The slots are widened by carving with a knife, paying attention to the wood grain so that the top doesn't split. I will need to widen mine. Last time I made them too narrow to insert the sound post.
The F-holes are located using measurements I have in a book. I traced the actual shape from a template I made from sheet aluminum (a lithographic printing plate)
First I drill out the round holes on either end using a 1/4 in. And 5/16 in. bit.
The pros use a fret saw to cut out the slots between the round holes. Either my fret saw is not deep enough, or I find it too fiddly to try and mount the thin blades sideways, but I found that using my scroll saw was a good option.
The slots are widened by carving with a knife, paying attention to the wood grain so that the top doesn't split. I will need to widen mine. Last time I made them too narrow to insert the sound post.
The bass bar is made of pine, and is located so that it will sit under the 'bass' foot of the bridge. (On a violin the G-string is the bass side) According to the book I have, the bass bar does not run parallel, but is canted ever so slightly. I'm thinking this helps prevent cracks in the top that run along the wood grain.
Where in a traditional violin there is a long process to fit the contour of the bass bar to the arching of the top, I have it easy because my top and bottom plates are flat.
Here I have clamped an over-height bass bar which I've glued in.
And here I've just about finished paring the bass bar down to its final form. I've now moved the project back to my place of work, so the lighting is better and I have my good tools to use!
The bass bar is made of pine, and is located so that it will sit under the 'bass' foot of the bridge. (On a violin the G-string is the bass side) According to the book I have, the bass bar does not run parallel, but is canted ever so slightly. I'm thinking this helps prevent cracks in the top that run along the wood grain.
Where in a traditional violin there is a long process to fit the contour of the bass bar to the arching of the top, I have it easy because my top and bottom plates are flat.
Here I have clamped an over-height bass bar which I've glued in.
And here I've just about finished paring the bass bar down to its final form. I've now moved the project back to my place of work, so the lighting is better and I have my good tools to use!
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