Wonderful. It is great to hear you deal with the various growth bands while cutting... I can hear the density changes, and see how you change your hand pressure. Very helpful, thank You!
No, I don´t. As I see it the first tuning is done as it affects how the arching is formed. What is left outside the ribs has no acoustical purpose. If so, a violin would be bad after having dents or wear at the edge. If this is correct, I don´t know but we all have our theories.
@@westerlundsviolinverkstada9892 okay. I hadn’t quite understood that there was such a relationship in your method between the contour tuning and the arching. That makes sense. Thank you for taking the time to answer my questions every day or two. I’m greatly appreciating this series although my family can’t understand how I can sit and watch a guy scratching and tapping away at some wood for so many hours. I’m riveted at every moment trying to anticipate your moves. I have one question about the purfling colour process. Correct me if I am wrong. I’m just guessing here. The acid bath is cleaning the wood, perhaps breaking down oils and making it susceptible to thoroughly absorbing tannins from the wood chip bath. That bath imparts some colour but more importantly makes the purfling highly tannic and thus the iron (sulfite?) turns it black. Is that what's going on?
@@Nomadboatbuilding I don´t quite know the chemistry here, but it is not an acid but an alcalic solution. As I see it, it "opens" the wood to be penetrated by the following solutions.
I bought two purfling cutters (one the same as you have) and the gap between the two blades is greater than 2mm I need for my standard purling. Have you done something to the blades to reduce the gap?? Some have suggested two single line passes but I think that this will be prone to error if not held exactly square. Thanks
I would suggest that you sharpen the blades asymmetrically so the edge comes closer to the side on each blade. You can then choose how to pair them by switching sides of the blades. One narrow and one wide for example. They are sharpened in U-form so that they cut in both ways. I also use thin (0.2 mm) metal foils between the blades to have different widths.
I guess you have tp google it to find where to buy it. It is a set of two books by Peter Biddulf "Guarneri del Gesu". I have to warn you that it is quite expensive.
Excellent tutorial…very helpful. Many thanks. 👍
Wonderful. It is great to hear you deal with the various growth bands while cutting... I can hear the density changes, and see how you change your hand pressure. Very helpful, thank You!
I’m curious if you used your scratch method again to refine the top and back edge contour after trimming the overhang to size?
No, I don´t. As I see it the first tuning is done as it affects how the arching is formed. What is left outside the ribs has no acoustical purpose. If so, a violin would be bad after having dents or wear at the edge.
If this is correct, I don´t know but we all have our theories.
@@westerlundsviolinverkstada9892 okay. I hadn’t quite understood that there was such a relationship in your method between the contour tuning and the arching. That makes sense. Thank you for taking the time to answer my questions every day or two. I’m greatly appreciating this series although my family can’t understand how I can sit and watch a guy scratching and tapping away at some wood for so many hours. I’m riveted at every moment trying to anticipate your moves.
I have one question about the purfling colour process. Correct me if I am wrong. I’m just guessing here. The acid bath is cleaning the wood, perhaps breaking down oils and making it susceptible to thoroughly absorbing tannins from the wood chip bath. That bath imparts some colour but more importantly makes the purfling highly tannic and thus the iron (sulfite?) turns it black. Is that what's going on?
@@Nomadboatbuilding I don´t quite know the chemistry here, but it is not an acid but an alcalic solution. As I see it, it "opens" the wood to be penetrated by the following solutions.
@@westerlundsviolinverkstada9892 Well that's a good enough answer for me and pretty much confirms my suspicions. Thank you.
I bought two purfling cutters (one the same as you have) and the gap between the two blades is greater than 2mm I need for my standard purling. Have you done something to the blades to reduce the gap?? Some have suggested two single line passes but I think that this will be prone to error if not held exactly square. Thanks
I would suggest that you sharpen the blades asymmetrically so the edge comes closer to the side on each blade. You can then choose how to pair them by switching sides of the blades. One narrow and one wide for example. They are sharpened in U-form so that they cut in both ways. I also use thin (0.2 mm) metal foils between the blades to have different widths.
Where can I get that book from. What is the title. Thanks for your educational videos
I guess you have tp google it to find where to buy it. It is a set of two books by Peter Biddulf "Guarneri del Gesu".
I have to warn you that it is quite expensive.
@@westerlundsviolinverkstada9892 thanks for the info. It seems finding these books is as difficult as hitting a jackpot. Will keep trying.