02 Giuseppe Guarneri Del Gesu Instrument Construction

Giuseppe Guarneri (Del Gesù) 1742 “Alard” Violin construction Table of Contents Forward Table of Measurements Chapter 1 Patterns and mold Chapter 2 Ribs Chapter 3 Plate carving Chapter 4 Installing the Purfling Chapter 5 Plate tuning and installation Chapter 6 Fitting the neck Chapter 7 Setting up the instrument In the white Chapter 8 Varnish Application Chapter 9 Final setup of the instrument

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Forward

tools and the fixtures. Being at sea I just could not run down to the nearest music store (nearest land was straight down). It took me the entire deployment to complete. That year at Christmas I presented the poorest instrument that I have ever seen to my uncle. He was so happy and tried to play that crude representation to no avail. That day I decided that my next one would be better. Here it is 26 years, 3 marriages, 2 daughters and 32 instruments later; I have become proficient enough to produce a quality instrument. I experiment and sell violins and fiddles occasionally. Constantly trying to improve the instruments I build. I have had no formal education in the construction if violins but was an artist at heart. My education after dropping out of high school was completed in the Army. They taught me to be a helicopter repairman and to shoot straight. I could not see a use for this trade when I returned home to my uncle’s farm. In January of 1980 I was discharged from the Army but was unable to find employment. After moving around from one relative to another, I had enough and joined the Navy. Being wiser and older I selected a trade that I could use later on. I liked the Navy and stayed receiving more education and advancement. The different schools and duty stations taught me theory and practical application of that theory. I was required to study many different things focused on fluid and steam power. Throughout this I continued building while at sea. With instrument 28 I had a turning point. My instruments started selling. I was confident enough to start repairing for friends and relatives. Half of the instruments reside with family members, some were destroyed some given away.

Some years ago I received a poster in my Strad magazine of Giuseppe Guarneri Del Gesù Alard Violin. I was excited about it at first, and then my excitement waned as I had to go to work to earn my living as a Master Maintenance Mechanic. My love for fiddles started during my Navy career. My mother’s cousin (my god father) wanted a violin to play but could not afford even the cheapest instrument. I referred to him as my uncle ever since I could remember being on the farm with them. The guidance given was not always headed as I grew up. I believe the Lord placed me there for a reason. Through the years I was on the receiving end for everything. Yes, I did appreciate it. With 6 brothers and one sister the attention wasn’t on the middle child for long. After my tour of duty in the U.S. Army (fighting Ticks and Chiggers in Texas) I joined the U.S. Navy where I stayed for the next 14.5 years. My first tour of duty was onboard the USS Forrestal CV-59 based out of Mayport, Fl. near Jacksonville. The year was 1980. I returned home for Christmas leave straight to my uncle’s farm. That was when my grandfather gave me his copy of a Giovanni Palo Maggini violin. I then found out that my uncle had always wanted a violin but being a farmer could not afford the expense. I thought that I may be able to build a violin and give it to him for the next Christmas. I had no real idea of the process involved (little did I know that I would continue building violins for so long). After my leave was up I was due to deploy overseas with the Forrestal. I ordered a book on building a violin from Lynchburg press. Read the book and over the next year fabricated the parts,

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I was always reading everything that I could get my hands on concerning violin construction. I have learned and applied that learning to the instruments I construct. My latest instrument is a Hardanger style Fiddle number 32,

projection. The instrument was sold 3 weeks after completion.

Started as a Maggini copy in 1999, converted to the Hardanger when I realized the arching was incorrect for the Maggini. Date of completion September 2006 with in actuality a good sound and 4

(Purfling to edge varies in center bouts) Purfling distance to edge -------------- 4.1 upper and lower bouts 4.3 center bouts Purfling groove depth ----------------2.5 estimated Neck length upper edge to nut ------130 Neck angle in degrees ----------------79.1 Neck height over top -----------------24 Neck thickness no fingerboard toe-11.75 Neck thickness no fingerboard heel 11.75 at start of curve, 37 at dovetail Neck thickness, fingerboard toe -----20.5 Neck thickness, fingerboard heel------ 45 Back button width----------------------- 17 Back button length---------------------- 11 Sound hole upper lobe diameter-------6.5 Sound hole lower lobe diameter-------- 9 Scroll refer to plan Peg box width inside top “A” peg -----16 Peg box width inside btm. “A” peg -14.2 Peg box width inside top “G” peg---16.5 Peg box width inside top “G” peg---- 22 Peg box side width top--------- 5.3L 4.6R Peg box side width btm. --------------27.2 String nut length ---------------------22-27 String nut height ------------------------- 9 Saddle nut height ------------------------7.5 Saddle nut width ---------------------- 35.5 Saddle nut shoulder to end------------- 11 Fingerboard length----------------------270 Fingerboard width at nut -------------23.5 Fingerboard width at heel ------------- 32 Fingerboard edge thicknesses at nut-- 9.5 Fingerboard edge thickness at heel----10 Fingerboard surface radius --------- 42 @ bridge end Fingerboard height, bridge end --11 – 26 Bridge width outside of feet ----------- 40 Bridge thickness at string --------------1.2 Bridge thickness at feet --------------- 4.5 Bridge foot height ------------------------ 1 Sound post diameter ------------------ 6

Table of Measurements Del Gesù 1742 Arching height -------------------------16.5 Body length---------------------------353.5 Body length needed to make wood resonances correspond on the Violin349.6 Ratio of actual body volume to volume of a Violin------------------------------- 1 Ratio needed to make air resonance correspond with Violin-----------------1 Body width Upper bout------------ 167.5 Body width Center bout------------ 112.5 Body width Lower bout------------ 207.5 Stop length--------------------------- 193.6 Side height --------------------------- 32 Side thickness------------------------ 1.1 Lining height Upper bouts --------- 2.5 Lining height center bouts---------- 3 Lining height lower bouts----------- 3.5 Lining thickness ----------------------2 Lining length --------------------------230 Arching height Top ------------------ 16.5 Arching height Back ---------------- 4.2 Distance, upper sound hole circle--- 43.5 Distance, lower sound hole circle--- 114 Distance, bridge line------------------72.6 Top, and Back thickness refer to plan Bar length above bridge line ---------138 Bar length below bridge line --------129 Bar length overall ---------------------268 Bar height at bridge line ---------------15 Bar height at ends -----------------------6 Edge thickness back, neck button-----5.1 Edge thickness back, upper bout base side corner block------------------------4.5 Edge thickness back, center bout-----3.9 Edge thickness back lower bout corner block--------------------------------------4.5 Edge thickness back, lower bout widest point--------------------------------------3.7 Edge thickness back, end block------ 4 Edge overhangs ------------------------3.7 average 5 at corner block miters Channel width ------------------------- 2.5

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Chapter 1 First fabricate the patterns from the drawing. These were stacked 3 high and held together with spray adhesive. A 1/8 inch diameter hole was drilled ½ inch below the neck and end block locations on the centerline, using a 1/8 inch dowel, gives consistent alignment of the patterns to the mold for tracing. The plate out line (photo 01 right pattern) is cut to the line then sanded with an oscillating fence and drum sander. Removing the drawn line, I checked the shape of the pattern to the poster. Noting one variance in the lower bout of 1mm. and the C bout corners were 1mm. to close together. The corner shapes were re-sanded to match the poster. Then the lower bout variance was corrected with a 1mm strip of material glued to that section of the pattern. Upon re-checking against the poster a match to the outline was achieved. Separating the plate pattern from the bottom of the stack (use sanding dust particles to remove the adhesives stickiness) allowed cutting to the inside shape of the sides based on the average overhang of 3.5mm, plus the stated side thickness of 1.1 – 1.3 mm, giving a measurement of 202.5mm (equaling 207.5mm the poster calling for 207.8mm {varnish thickness not calculated in this measurement}) at the widest point of the fixture pattern with corner blocks. Repeating the sanding and separation process the corner block pattern was completed (photo 01center). By leaving the corner block shapes in the location it will be easy to layout the corner block shapes during mold preparation for rib installation. The last layer with the plan still attached, cut the corner and end blocks out with a band saw. The neck and end block width was based on a 1720

Patterns and mold Giuseppe Guarneri (Del Gesù) 1742 Alard Violin is this project I try to l apply the theories that I have learned through the years. They will be documented here for later use and analyses. Start with the poster provided by the Strad Magazine of Giuseppe Guarneri (Del Gesù) 1742 Alard Violin. The plan was photo copied at a local printer some years ago. Unfortunately it was copied incorrectly. I have made 3 instruments with the photo copied plan and had to modify dimensions a considerable amount. They turned out very good as a 7/8 instrument. All 3 have sold for not less than 1200 dollars. For this instrument I returned to tracing the plans by hand. Short cuts have a habit of not working as planned. Checking drawings with the dimensions on the plan poster, I know that it isn’t exact but will be close to the poster. One observation is that the dimensions are not consistent, but vary with minor things like edge overhang. Calculate the average overhang to the side in order to fabricate the mold fixture. Using Violin and Fiddle Tech manual Builder and Apprentice as a reference, start with the 2 part mold construction. Creating the drawings required 18 hours, fabricating the mold was 3 hours. Photo 01

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Stradivarius plan, due to no dimensions specified on the Del Gesù poster (photo 01 left). Selecting a piece of ¾ inch plywood for the mold lower half and clamping the pattern to it, drill two 1/8 inch holes into the plywood using the pattern holes as a guide (photo 02). Photo 02

After removing the pattern locate one 3/16 inch hole below the neck block ½ inch lower than the alignment hole. Next clamp the ½ inch plywood to the ¾ inch lower section. Using the dowel pin holes as a guide, the 1/8 inch holes were drilled through the ½ inch top section and the dowels inserted to maintain alignment. The 3/16 inch hole is drilled through top and bottom sections with a drill press. The dowels are removed to separate the sections. With the sections separated the ¾ inch plate is tapped to ¼-20tpi (threads per inch). The ½ inch section is drilled to17/64 diameter to allow screw clearance. The two sections are put together with a flat head ¼-20tpi brass machine screw. The edges were aligned before the screw was tightened (the taper of the head of the screw served as a centering device to align the screw hole as it was tightened). This same process was repeated for the mounting hole located at the end block (photo 05).

The pattern shape was transferred to the plywood with a pencil. Flip the pattern over and insert the dowels for alignment and the pattern shape is traced to the mold. Photo 03

Photo 05

Photo 04 The two sections were reassembled and 6 additional 3/16 inch mounting holes were drilled ½ inch in from the widest point of the upper and lower bouts and the narrowest point of the C bouts toward the centerline through both sections. Separating the two sections and tapping the ¾ inch lower section to ¼-20tpi and the top

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section to 17/64. The sections are reassembled with the neck and end block mounting holes. The remaining six holes are counter sunk from the top section allowing the screw head to be at least 1/16 inch below the surface when tightened. The mounting screws were inserted and tightened with minimal torque. Then remove and countersink the remaining holes (photo 06).

Photo 08

Photo 6

The pattern was reinstalled on the mold and the shape transferred to the top as on the ¾ inch section (photo 8). Photo 09

Photo 7 After marking the mold with the block locations the blocks are cut out using a band saw cut into the relief holes previously drilled (photo 09). The rest of the shape is rough cut leaving 1mm outside the line (photo 10). Photo 10 The mounting screws are reinstalled (photo 07) completing mounting screw installation. Drill 3/16 inch diameter holes at each corner of the block locations too provide a relief in the corner when the blocks are installed at a later time. The sections are separated and the jacking hole positions at each block plotted (photo 7).

The shape is sanded with an oscillating vertical fence and drum sander (photo 11), sanding the marked line off of the mold.

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Photo 11

Photo 13

Next flat sand the top and back sections. The final height of the mold is 30mm uniformly. The dimensions specified on the poster require a tapered reduction from the center bout block location to the neck block location. Being reduced to 29mm creating a taper on the mold and adjusting the air resonance at the same time compensating for the lower bout size, this will occur naturally when sanding the rib height and linings flat.

The sections are disassembled and the jacking holes are tapped to ¼20tpi in the top plate only (photo 12) after the clamp cutouts were removed from the mold with a scroll saw. Photo 12

Photo 13 the sections are reassembled and the block locations are squared with a file and small square. The inside edge of the block locations are parallel to the centerline and at right angles to the centerline at the corner and end block locations. Scribe the centerline on the top section and use the band saw to cut 1/16 inch deep slot on the centerline of the end and neck block locations.

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Chapter 2

Photo 15 shows the corner block with the news paper attached to the block. Adding glue to the paper coinciding with the ½ and ¾ sections of the mold, Insuring that no glue is in the area if the separation line. Position the block to the mold and allow the block to extend beyond the top and back slightly.

Ribs Preparing the mold took 8 hours of work. In photo 14, start installing the blocks. The end blocks are installed first, then the corner blocks. To install them glue (with Elmer’s wood glue) a strip of newspaper to the block with glue on the top and bottom of the side. Do not put glue where the mold will separate. The grain orientation is side to side neck and end blocks, with the end grain on the top and bottom of the mold. Corner block grain orientation for this instrument curves from upper bout to corner point. This was done using black willow. The annual rings point to the corner miter joint position.

The block installation is completed (photo 16). Photo 16

Photo 14 Photo 17

Photo 15 Turning the mold over, check the block height above the top, enough material must be present to flat sand the blocks flush to the surface of the mold top and bottom. While the glue is drying, start preparing the side ribs for installation. Use a scraper to reduce rib material to 1.2mm thickness. The side material is well flamed and required holding the scraper at an angle to reduce the high spots of the curls evenly (photo 18 and 19).

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Photo 18

Photo 21

Ribs prepared for scraping The glue has dried enough to continue with the mold side block installation (photo 21). The micro bar clamps have been positioned to allow flat sanding. Preventing the blocks from being knocked out during this process (photo 21).

Photo 19

Photo 22

Scraper held at an angle to reduce the material evenly across the curls (flaming pattern). Photo 20

Side view of sanding plate (photo 22); note the gap under the mold. This is caused by the blocks extending beyond the top and bottom surface of the mold. The mold is then moved in a circular motion removing material from the blocks. This reduction of the block material is depicted in photo 23 by the lighter shaded circular patterns.

Photo 21 is the sides scraped and ready for book matching to determine location on the instrument for the best aesthetic value. 12

Photo 23 Photo 26

The sanding process is continued. The new sanding cloth required more force to move the mold. This removed material faster from the blocks (photo 26). In photo 27 the pattern is lighter due to the color of the sanding cloth. The circular pattern on the left is more pronounced due to more pressure applied during sanding.

Unfortunately the sand paper was caught and torn by a block requiring replacement (photo 23). Photo 24

Photo 27 Photo 24 shows where the material was removed from the blocks. Photo 25

I solved this problem by adding a clamp to each end of the mold after removing the micro bar clamp from each end block (photo 28). Than placed a steel drop (waste end of steel bar stock that drops on the floor when cut to length) directly over the center bout location. Grasping the clamps and moving the mold in a circular pattern was easier and the added weight insured even pressure o the mold.

Removing damaged paper from the glass plate. Old spray adhesive was removed with denatured alcohol (photo 25). The glass is sprayed with 3M-77 spray adhesive and new cloth backed paper is pressed into position (photo 26). Insuring no pucker or loose ends of the sanding cloth is present to catch on the blocks. 13

Photo 28

Photo 30 shows the drop position changed to the neck block and the back of the mold is in the sanding leveling process. I started with the drop at the neck end due to the harder wood.

During the sanding process repositioning the drop to the neck block area was required. The harder neck block was higher then the end block causing uneven removal of the block material. As the material was removed the dust pattern on the sanding board changed to the outline of the mold. The blocks are now flush with the surface of the mold. Remove the drop and tap the mold on the sanding board. Leaving an outline of the mold in the sanding dust (photo 20), examination showed that the blocks were flush with the surface of the mold. Recheck the blocks with a straight edge.

Photo 31

In photo 31 the lower left of the dust pattern appears to be partly missing, indicating a high spot. I re-sanded lightly with hand pressure in this area and rechecked the dust pattern (photo 32 and 33).

Photo 29

Photo 32

Photo 33

Photo 30 14

Photo 34

Next cut the corner and end block shapes with a small band saw and a 1/8 inch scroll blade (photo 36 and 37). Photo 37 Using the corner block pattern pined to the mold with the 1/8 inch dowels; transfer the corner block patterns to the corner blocks (photo 34). Photo 35

In photo 35 extend the side curves of the upper and lower bouts across the blocks, then mark and number the blocks for location.

Photo 36

Photo 38

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Photo 41

In photo 38 the cut off sections are matched with the location marked before cutting. Photo 39

In photo 41 and 42 the corners are shaped with the drum sanding attachment. Photo 42

Using an osculating fence sander the neck and end blocks are sanded to shape (photo 39 and 40).

Photo 43

Photo 40 16

I accidentally broke the end and neck blocks loose and had to re-glue them in place (photo 43). While this repair was drying, I started inspecting the wedges for the top and back. I found flaws in the grain pattern of the top plate (circled photos 44, 45, 46, and 47), one corner chipped out, a resin pocket, and a check (split in the end grain of the wood).

Chipped corner in waste wood area will not cause a problem. Photo 47

Photo 44

The grain appears to be offset. Photo 45

Resin pocket and check directly above it, this is in a waste area so will not cause a problem during carving. Photo 48

Off set of grain pattern may show on carved plate.

Photo 46

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Photo 48 is the back wedge with slight warp on inner surface area due to cutting angle. This will be corrected during carving of the plate. I lightly sanded the plate to show the grain and flaming pattern better. I was then able to book match the rib wood to the location they needed to be for aesthetic value (photo 49).

state. I desired to install it flame leaning to the neck. Cutting the rib marked for the left side in half, I marked the top of the inside of the left center bout. Wetting the material with water I bent and installed the left center bout (no glue). Test fitting as the bends are made, due to the length of the wood increasing as the bend is completed. I clamped it into position with the waste blocks from cutting of the corner blocks. These blocks were not sufficient to clamp the rib wood correctly. I then made new blocks and clamped the left c bout in position (photo 50).

Photo 49

Photo 50

Rib material book matched to back plate (photo 49). Bending the ribs Now that the end blocks have dried, start the process of bending the ribs. I turned the bending iron on after mounting it to the work bench. I then set up the glue pot and prepared the hide glue. I want to use a medium thin mixture for gluing the ribs to the blocks. Testing the iron I found it was to hot. Dropping a small amount of water on top of the iron it evaporated instantly. After turning the iron down one notch, I cleaned the iron with a wet rag. Removing dirt and dust from the iron that may cause problems with bending the side wood. I re-checked the marking that I had put on the side wood for the position that I wanted that piece in. Compared it to the mold and back, determining the angle of the rib flaming in a finished

The mold was clamped in a swivel vice attached to the work bench. This allowed me to position the mold in any position required. I repeated the process for the right c bout. After checking the fit, I used medium thin hide glue to attach the right c bout in position allowing ¼ inch extension on top and bottom of the mold. Repeating the same procedure for the left side I finished the installation of the center bouts. Now the drying time has to pass and the shop needs to be cleaned and equipment turned off.

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Photo 51 shows the center bout ribs in place and the clamps removed. Photo 51

Photo 54

Photo 55

Photo 52

In photo 55, I have cut the first half of the miter joint at the corner points of the center bouts using the drum sander. Mount the mold in the swivel vice and prepare the glue.

The rib height is then reduced to 1/16 inch above the surface top and back with a low angle block plane (photo 52).

Turn on the bending iron to allow it to heat up. Select the rib material for the location you are bending next. Check the flaming orientation for correct pattern and wet the wood. Bend to shape starting at the corner block, test fitting as you bend the wood. When the fit is correct glue in place add the clamps and check that the joints are tight. Clean excess glue from the joints. Pull the rib tight adding clamps as necessary to hold the side to the mold. Add glue to the end block and clamp the rib to it. The rib overlaps the centerline to allow cutting both lower rib butt joints at the same time (photo 56).

Photo 53

Next the sanding board is used to reduce the rib height flush to the mold surface top and back (photo 53 and 54).

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Photo 56

Photo 58

The ribs are installed and glue allowed drying time before completing the end block butt joint (photo 58).

The upper bout is bent in the same manner and glued in place. A ¼ inch gap is left between the upper bout ribs at the neck location. This will be cut out later during cutting oh the dovetail joint for the neck.

Photo 59

Photo 57 is the completed and glued right side of the instrument. Photo 57

Four hours later, the butt joint was ready to be finished. Mark the center line on the rib projected from the mold. Lift the lower bout rib high enough for saw clearance with out damaging the rib. Place a small square on the rib (that is glued to the end block) centerline for the butt joint and clamp in place. This is used as a cutting guide, cut the rib with a 64 tooth fine tooth saw. Try not to cut into the end block, after the cut is made remove the excess with a small flat chisel (photo 59). Clean the end block and lay the other rib over the butt joint pulling as tight as needed to have the rib lie flat against the mold. Add clamps to hold rib in position. 20

Clamp the small square in place lining up with the previously marked centerline. Make sure to allow for saw cutting width. Then test fit the joint. Adjust as required to have a flush butt joint. Then glue in place and clamp, allow 4 hours drying time (photo 60). Photo 60

final shaping done with a file. The sharp edges were removed with sandpaper. I checked them against the poster and had to adjust two of the patterns. I then drilled a ¼ inch hole in the end of the pattern for hanging on the peg board (photo 61). Photo 62

The glue on the butt joint has finally dried and I can continue with the ribs. Using the same process I flattened the ribs to the top and back of the mold (photo 62).

Photo 61

Photo 63

While waiting for the glue to dry I made the arching templates for the top and back plates. The vertical centerline was made from a ¼ inch piece of oak board wide enough to layout the top and back arch on the board. I used 3M-77 spray adhesive to glue the templates to the board. For the remaining arching guides I used 1/8 inch lexan and attached using the same adhesive. Then using a band saw the patterns were cut out and

Next I finished cutting the miter joints. Using the drum sander the joints were dressed and rough areas removed photo 63 and 64 is a completed joint.

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Photo 64

Photo 66

Photo 65

Photo 67 Next I laid out the center line on the top and back plates matching the flame pattern of the ribs to the bottom plate (book matching). I placed the mold on the marked centerline of the top plate. This is a one piece top that I had in the closet for about ten years. I was able to adjust the position to avoid the flaws in the top plate, tracing the outline of the mold sides onto the top plate using a washer with a side width of 4mm (photo 65) as a guide. Giving me a 5mm distance from the mold to the outside edge of the marked line. The line will be removed later during the final shaping of the top plate (photo 66).

Photo 67 is the back plate laid out using the same method. The back plate is a one piece back. The flaming on the side was matched to the back by moving the mold slightly up or down until the pattern looked the same.

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In photo 68, I have removed the holding screws and inserting them into the jacking holes. Slowly turning the screws in ½ turn at a time in cross pattern sequence, the news paper holding the blocks on the mold parted, allowing the top ½ inch section to rise out of the ribs partly. There was insufficient clearance to total remove the ½ inch mold section. Photo 68

Photo 70

The lining installation is next. Photo 70 is the ¾ inch mold section with the ribs attached and clamps added to prevent knocking the blocks loose during the lining installation. The clamps serve as a stand during this process. Prepare willow strips 6mm high x 2mm wide x 300mm long. Sand the side and edge of each strip smooth (photo 71). Photo 71

Photo 69

I removed the four center jacking screws and installed longer ones. As I turned these in the screw in the lower right of photo 69 started drawing the ½ inch section back into the mold. After removing that screw the remaining screws lifted the ½ inch section from the sides. I found that the jacking hole in the lower right had penetrated into the ¾ inch section void that was not noticed during the fabricating the mold. I will have to repair the ¾ inch section if I wish to use this mold.

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Use a chisel to notch a bevel into the corner blocks of the center bout (photo 72). Photo 72

Photo 74

Photo 75

Photo 73

Photo 76

Completed linings Cut a bevel on one end of the lining. Then position it into the bevel of the lower corner block. Bend the lining and clamp in place with a clothes pin. Holding the lining to the couture of the rib mark the other end at the corner block, remove the lining and cut a bevel at the marked location (photo 74 and 75).

Wet the lining and install it with the bevels into the corner blocks. Add the cloths pins and allow to dry overnight (photo 75 and 76). The lining will retain the shape long enough to glue in place the next day. This same process is used on the

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rest of the linings. The other method is to bend the linings on the bending iron and glue them in place. When glued in place the linings need to be 3mm higher in the upper bouts and 1mm higher than the lower bouts. This will compensate for the air volume difference in the upper and lower bouts (photo 77-80). Photo 77

Photo 80

After drying, flat sand the linings flush to the top of the ribs. Photo 81

Photo 78 Lining material extends 2-3mm above the sides (photo 81). Photo 82

Photo 79

The lining material sanded flat to the sides. The measurement at the neck block is 29.5mm height. The linings for the back are installed in the same sequence after the top plate is attached to the sides.

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Chapter 3 Photo 84 is the back plate rough cut to shape the material at the top of the picture is re-sawn into side material. Make sure that you leave a button on the back plate.

Plate carving Refer to the plate carving chapter of Violin and Fiddle Tech manual Builder and apprentice.

Photo 85 The center lines have been marked previously. The mold shape with the sides has been transferred to the top and back plates. Using the plate pattern (photo 01), check the outline on the plates, line up the centerline and trace the pattern onto the plate’s flat surface. Remove the pattern and check the outline note variances in the pattern. The outside of the marked line will be the overhang of the final plate shape (photo 65-67). Use a small band saw and cut outside the line marked on the plates (photo 83). Save as much of the cut off material as possible, for use later making blocks and repair patch material.

Back plate shape sanded to the marked line on the plate (photo 85). The button will be finished after neck installation. The drum sander was used to shape the center bouts and corner wings. The fence attachment was used to shape the upper and lower bouts of top and bottom plate. Photo 86

Photo 83

Top plate rough cut to shape (photo 83). Photo 84

In photo 86 the edge thickness is scribed, then darkened with a pencil point.

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Photo 87

Photo 90

After marking the edge height, the arch height is marked adding 2mm to the measurement. This will allow sanding the plate flat prior to gluing to the ribs (photo 87). Photo 88

Photo 91 and 92, the plate’s bottom mounting area is sanded flat. This operation was previously done on a sanding board and block plane. Photo 91

Scrap top plate material saved for patching and corner blocks. Photo 89, the plates are sized quickly with the thickness sander. Photo 89 Photo 92

Photo 92 and 93 are the sized plates ready to mount to the carving board.

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Photo 93

The spindle block is added (photo 96). Photo 97

Photo 94

The carving board mounted in the vice (photo 97). Photo 98

The top plate is being attached to the carving board with two screws (photo 94). Photo 95

Material is reduced to the edge thickness in photo 98. As the material is removed the grain will change direction. To avoid tear out of the wood change the carving board position. Turn by loosening the vice repositioning the carving board and retighten the vice. Photo 99

Top view of the carving board (photo 95) Photo 96

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In photo 99 the top centerline arch is shaped. Photo 100

Photo 104

The arch for the back is shaped (photo 104). Photo 105

The remaining arches are shaped (photo 100). Photo 101

The remaining arches are shaped on the back (photo 105). In photo 101 the top plate arching is blended together.

Photo 106

Photo 102

The back plate arches are blended together forming a smooth contour. Looking at the plate with deflected light shadows will appear next to high spots. These were smoothed with sandpaper and scrapers (photo 106).

In photo 102 and 103the shaping and blending is completed. Photo 103 is the side view of the top plate showing the arch. Photo 103 29

Chapter 4

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Installing the Purfling Checking the outline of the plates to the pattern, the top plate was good, the back plate needed to be reshaped in the lower bout to match the pattern. The plate edges are now at their final shape (with the exception of the back plate neck tab). Photo 107

In photo 108 the second cut is completed. Stop the cut close to the corner and finish the cut with a knife and chisel (photo 109 and 110). Photo 109

Starting with the back plate (photo 107), make the setup on the rotary tool, router guide (photo 108) with the measurements from the plan. This may not be the easiest way to install the purfling but I find it the fastest. I use the back plate as a guide. Rout a test piece of scrap the same thickness. Check the depth and distance of the cut from the edge. Use a compass divider to mark the position of the purfling on the back and top plates. The area under the back plate neck tab must be extended across to the other side. Rout the purfling groove in two step cuts. First cut 1.5mm deep second remaining measurement to final depth of cut. Photo 107 first cut made following the guide line.

Photo 110

Photo 108

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Photo 111

The upper bout and lower bout are done in one piece. The purfling is trimmed to match the corner joint where it meets the center bout purfling to a miter joint. 2-3mm length is left on the end for the bee sting. Temporally install the purfling strip and cut the opposite end. Shape the bee sting and glue in place. Photo 113

Photo 112

Purfling installed back plate. The top plate is done using the same method (photo 113). Photo 114

The back plate purfling groove is extended below the tab. This area is cut with a knife and purfling clean out chisel (photo111). Install the purfling in the center bouts first, cut a 45 degree angle on one end. Fit the cut end into the groove at the corner. Bend to shape and press lightly in place. Cut the other end to a 45 degree angle at the point of the corner. Remove the purfling and inject thin hide glue into the groove, install the purfling strip. Lightly tap in the purfling with a dowel and tack hammer. Insure the purfling is seated in the groove and clean off the excess glue (photo 112).

In photo 114, the first half of the cove is cut with a gouge chisel reground to a low angle. The cove extends from the purfling to 1mm from the edge of the plate. Photo 115, the cove is cut in the top plate. Photo 115

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Photo 116

Use a scraper to blend the inside of the purfling to the arching (photo 116 and 117). Photo 117

Photo 118 is the completed cove. The areas at the corners require special care, they can be damaged easily. The top and back plate took about 8 hours to complete. Photo 118 33

Chapter 5

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Plate Tuning and Installation Decide what tuning method you wish to use. I will start with the Vigdorchik method. Then adjust with tap tone method. Referring to the poster determine the thickest measurement for the top and back, layout these measurements on the inside of the top and back plates. Use a compass divider to layout the inside edge plus 3mm of the lining position (edge overhang + side thickness + lining thickness = measurement to be marked). Leave enough material for the end and neck blocks gluing surface. Photo 119 is the back plate and photo 120 is the top plate, both plates have the layout and calibration marked. While doing the calibration marking I realized that the marks were laid out in reverse of the theory. This means the measurements were taken from the outside of the instrument. In order to have then in the right location they had to be reversed on the inside of the plate.

Use a drill press drill the back plate to a uniform thickness of 4.5mm depending on the tone of the plate. Decrease the drilling depth 1mm to a thickness of 5.5mm. On the top plate, drill to a uniform thickness of 4.5mm. Photo 121

Back plate depth holes used as a guide to remove material (photo 121).

Photo 119

Photo 122

Photo 120 Top plate guide holes drilled.

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Photo 123

Clamp the top plate to the mold in the proper position, double check the edge overhang. Drill 2 1/16 inch holes located at the neck block and end block on the outside of the purfling (photo 126 end block)( photo 127 neck block). Drill into the blocks and insert 1/16 inch diameter pins. The pins are used for alignment only and will be removed after gluing the plate in position. The area where the alignment holes are will be removed during neck attachment and saddle nut installation.

Use a gouge to remove the material on the inside of the marked line (photo 123). Finish removing the material with the finger planes photo 124). Photo 124

Photo 126

Alignment pin installed end block Photo 127

Material removed and finger plane removal is next (photo 124). Photo 125 Alignment pin installed neck block Prepare the glue, and seize the blocks with thin glue. This seals the end grain preventing absorption of the moisture in the glue when the top is glued into position (photo 128). The plate support made from liquid silicone rubber (photo 125).

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Photo 128

Photo 130 the back plate is roughed out using the gouges and finger planes. The thickness at this time is 5mm and will be finished tuning after the top plate is removed. This is not the normal way I have done this before. I want to find out how much the ribs affect the tuning of the back plate. Photo 131

Blocks seized Photo 129

Removing the ¾ inch section of the mold is done by gently detaching the corner and end blocks from the mold with a small chisel or a knife. Lifting up with your fingers under the mold and pushing down with the thumb on the block will slightly lift the section out of the ribs (photo 131).

Clamping garland in place In photo 129 the top plate is glued into position and the alignment pins are removed. Thin hide glue is used too make it easer to remove in a later step. The top is glued to the ribs as an experiment to see how much the ribs affect the tuning process. The ¾ inch section of the mold will be removed and linings installed before finish tuning of the top plate. Photo 130

Photo 132

In photo 132 the mold has been removed from the ribs. The inside of the ribs are inspected for damage. The corner block shaping must be done after the linings have been installed. Tap test of the plate without the ribs resulted with

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the pitch “F”. With the ribs attached without the back linings in place is “F#”.

The top plate has been trimmed inside to carry the shape of the inside of the plate to the ribs, linings and blocks. The top plate with the sides and linings in place, tap tone is “E”+30 cents toward sharp. The sound holes and base bar must be installed before final tuning.

Photo 133

Photo 136

Photo 133 is the linings for the back plate installed. During trimming of the linings the side joint separated from the top plate and had to be re-glued before proceeding. In photo 136, I have glued the back onto the ribs to allow me to remove the top plate for base bar installation and sound hole cutting.

Photo134

The next chapter will be the carving of the neck and preparation to install it onto the body. This photo (photo 137) shows a carved neck with the string nut and fingerboard attached. Using the dimintions from the poster I thinned the heel to 1mm larger then the measurements given on the poster. I then calculated the neck angle for a standard size violin. Based on the poster the neck angle needs to be 79.2 degrees to match the poster.

In photo 134 the linings have been installed and flat sanded. The blocks have been trimmed to shape in photo 135. The corner blocks are trimmed to continue the shape of the lower bout into the center bout. The neck block corners have a ½ inch radius and the end block is trimmed to a half circle.

Photo 137

Photo 135

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Photo 138

deflection angle representing the center of the base bar. The base bar is then glued in position in photo 140 with medium thin hide glue. The clamps are installed in the center bout first, then the ends. A fourth clamp was added due to a slight gap in between the center and lower bout clamps. Photo 140

The calculations for the base bar have been completed and laid out on the inside of the top plate. The carbon paper is taped in position and the base bar is shaped to the contour of the inside of the top plate by rubbing the bar on the carbon paper and scraping the high spots. The base bar material was cut from the scrap of the top plate (photo 138). Photo 139

Photo 140 base bar clamps are in place. Photo 141

Photo 141, the base bar has been shaped and tuned. The plate tone is “G#” in mode 2 position. In mode 1 position the upper bout treble side responds at “F” + 20 cents. The lower bout treble side responds at “G”+ 10 cents. The lower bout base side responds at “F” + 30 cents with an overall tone of “G”.

In photo 139 the center of the plate is laid out and the bridge line plotted. This position is transferred to the base bar to aid gluing in position. The top of the bar is 45mm from the neck end of the plate edge. The other end is 43mm from the edge of the plate at the end block location. The base bare is set at an angle, to obtain these measurements the widest point of the upper and lower bout measurements are divided by 7 equaling 12.5 for the upper and 15 for the lower. These are laid out on the plate at the widest point. Then the measurement is laid out for the 39

Photo 142

Photo 142 shows the sound holes in position. Sound hole shape will be adjusted after set up in the white. Bevel the finished edges of the plates with a file and knife, scrape smooth, and then lightly sand with 600 grit finishing paper too remove sharp edges. The bevel or chamfer angle should be 45 degrees.

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Chapter 6

Lay out the height of the neck on the centerline (photo 150) of the heel. Photo 150

Fitting the Neck The neck is carved using tracings from the poster. This procedure is described in the Violin and Fiddle Technical Manual Builder and Apprentice. Photo 143

Photo 143 is the neck with the fingerboard and string nut attached temporarily. The neck length on this instrument will be 130mm rather then the 124mm of the reconstructed version of the original neck.

The side of the neck shows the cut line for excess material to be removed to allow the heel to sit flat on the neck button of the back plate. When fitted to the instrument the bottom of the string nut should be inline with the glue joint of the top plate and the ribs. Leave extra material, for adjusting the height of the neck, as the angle is changed during the fitting procedure. Photo 151

Photo 144

Photo 144 shows the neck heel with the centerline. The neck heel will be trimmed with a disc sander to obtain an angle from the edge of the fingerboard to the bottom of the heel. 41

The excess material is trimmed leaving 1/32 extra material, for adjustment of the neck angle (photo 151). In photo 152, the neck is fitted to the body using the neck angle gauge. The dove tail is cut to allow the neck angle gauge pin to rest on the top plate at the bridge line.

Photo 154

Photo 152

In photo 154, the top plate is removed and the neck is glued in position with medium thick hide glue. While overnight drying of the glue joint will be sufficient to finish the assembly of the instrument, you should allow 24 hours of drying time before tension is applied to the instrument. Photo 155

Photo 153

Photo 155, the sides have been prepared for installation of the top plate. Photo 156

Photo 153 shows the completed dove tail joint. The top plate has been trimmed to allow the neck to sit at the correct angle. The top plate is first pinned in place with the locater pins, and then spool clamps are added to the center bout to hold it in place during the fitting process.

Photo 156 the top plate glued to sides using thin hide glue. Clamping garland installed.

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Chapter 7

Photo 159

Set Up in the White In photo 157, the clamps have been removed from the instrument and the glue joints have been cleaned and inspected. Photo 157 With the peg reamer, set the peg shaper to the angle of the reamer. Use a knife to score around the peg shoulder before sizing the peg. Size the peg to the smaller opening of the shaper. Insure the peg is shaped evenly for each revolution. Stop the turning just before the shoulder of the peg (photo 160). Photo 160 In photo 158, the peg holes are sized and the pegs fitted. Insure that the peg reamer is held straight while turning. View the end of the neck with the reamer in place to check for correct angle (photo 159). Photo 158

Fit the saddle nut, to the instrument (photo 161).

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Photo 161

Photo 163

Photo 162

In photo 162 the fingerboard has been tack glued in place. The stop length of the strings is checked with a blank bridge in place and the belly of the instrument is marked at this location. The bridge line should be at this measurement.

In photo 163, the bridge tailpiece end pin and chin rest have been added. Bow the instrument and check the tonal difference’s and adjust the bridge and string nut for playability. The instrument was brought to tone and allowed to rest for 2 days. Once the strings have been stretched the tone of the instrument can be adjusted. For fitting if the bridge, follow the set up procedures in the chapter of “Violin and Fiddle Tech Manual Builder and Apprentice”. 44

Photo 164

Photo 164 is the back of the unvarnished instrument.

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