Finishing the job by turning backward is essential because it allows you to compress the wood by anticipating the compression that would occur in any case due to the rotation of the pegs. It is amazing how much the holes widen just by compression, especially if the density of the wood is not high.
Mãos abençoadas, é tão bom ver vc trabalhando, fazendo obras de arte, não me canso de ver seus vídeos, é como uma terapia pra mim,Deus lhe dê muitos anos de vida, com muita saúde.🙏
Davide, let me first offer my gratitude for both your efforts in making videos for us to enjoy, and for your obvious skill as an artisan. I would also like to make a recommendation: please narrate your videos. I may be alone in this, but I usually do not have time to simply watch a video with full attention and attempt to understand the nuances without explanation. It would be very helpful if you explained what you were doing and what you're thinking throughout. This would likely benefit all and help us all to better understand and appreciate what you're doing.
Thanks for your kind words, much appreciated! Regarding the narration, unfortunately my spoken English is not good at all, so if I had to do it I would speak in Italian, and I don't think it would be very useful for those who are not native speakers. Then, these videos are made while I am doing the real job, they are not fiction, and explaining what I am doing would make me lose the concentration necessary to not make mistakes.😊 PS Just in case you don't know, you can find the English translations of the texts and caption on the description page below the video
@@DavideSora Thank you for the reply. I understand. Don't let poor English stop you -- we'll learn what we can. But I completely understand not wanting to talk while you're crafting such works of art.
Nice work, the dedication and precision are remarkable. I do a lot of fine work making NMR probes and surface coils. What you are doing is more art. One question, are the peg heads all the same distance from the tuning box or are they lined up so they are the same distance from the centerline.
Thanks! The peg heads are set at the same distance from the outside surface of the pegbox. This is to have the same space for the fingers that must grip and rotate the peg for tuning. Furthermore, if you measured the distance from the center line of the pegbox, the pegs would be progressively more protruding going from G to A, with an aesthetic result that is not very harmonious, and on the practical side much more difficult to measure accurately.
@@DavideSora that’s what I thought. I’m just learning to play, I’ve love violins Violas a Cellos since I was a child(50yrs). I my instruments is an intermediate one made by single Chinese luthier. It sounds very good, my son’s friend is a good violinist and said it plays and sounds wonderful. The original owner installed geared pegs and a narrow spaced nut (15mm). She had small hands. I’m going to leave the geared pegs but make a new nut 16.5 or 17mm (I have large hands)and install an ebony tail piece in place of the Wittner composite.
All three reamers have the same taper, so they are not substantially different. The smaller one is handy for enlarging the holes initially because it allows you to better see the orientation with respect to the pegbox as it protrudes more evenly on both sides (it is also essential to enlarge the holes starting from the 5 mm holes that I make in the scroll while carving thanks to its smaller minimum diameter), the other two differ only in the orientation of the cutting edges, one straight and the other spiral, it is not essential to have both but the one with the spiral cutting edges offers a more homogeneous cut but with little possibility of modifying the orientation with respect to the pegbox while the one with straight cutting edges, thanks to its smooth part, allows you to move the hole or change its inclination more effectively.
The liquid that I apply with the brush inside the edge of the holes is ethyl alcohol, it is used to soften the varnish and prevent it from splintering when reamed. You can find it described in more detail in this video: ruclips.net/video/6DTparqMBzM/видео.html The videos entitled "from start to finish" are only a condensed version where I do not put the explanations, which instead are present in the description and in the captions of the more detailed individual videos, which you find gathered in this playlist: ruclips.net/video/NO8S8MjgisA/видео.html As usual, the English translation can be found by opening the description window below the video
Potrebbe anche non essere necessario, va valutato lo stato dei fori, ma spesso almeno una passata leggera per ripristinare la corretta conicità è utile. Essendo il legno un materiale anisotropo, i fori tendono ad ovalizzarsi con il tempo.
Is it not a good idea to put a piece of tape or a marker line in the reamer at the point where you would stop reaming? I was thinking if I made a violin, I would do this so each peg hole is the same diameter and I don't go too far into the wood.
You can use the tape as an indication of the depth when cutting with the reamer if you like. Still, you have to be careful because it will never be accurate enough as fine work is done by compressing the wood not cutting it. The rate of compression of each wood it's different, so I think it's more accurate to measure the protrusion of each peg, rather than to rely on a rough masking tape reference.
I place my lips on the parts in contact with the pegbox to assess how warm they are. Turning the peg with some energy causes overheating of the contact parts: if the taper of the hole and that of the peg are matching, both points of contact must give the feeling of being at the same temperature. If one seems colder than the other it means that the taper of the peg is not correct and so the inclination of the peg shaper blade should be perfected to obtain the right match between the taper of the reamer and that of the shaper.
Davide thank you for this Master video. What is the distance between de peg box and de collar of the peg that you use ??? Some people use 11mm, 12mm, even up 15mm. What is the correct?
There is no real standard for this measurement, also because it depends on various factors such as the hardness of the materials of the pegs and the pegbox and on the ambient humidity when doing this work. However, I would say that it is better not to exceed 12.5 mm of maximum distance from the pegbox to the collar, because otherwise the torque could be excessive and create a moment of inertia (bending of the head) before the peg starts to turn. In any case, for a new violin I consider a measurement between 11 and 12 mm to be optimal, considering the peg already settled, as as soon as it is installed the peg will inexorably compress the wood of the pegbox entering deeper and reducing this measurement. However, even if the distance becomes smaller, the good efficiency of the peg is not compromised if the shaft taper is uniform and accurate up to the collar, as it should be. You can find these details in this video, you can find the English translation in the description page under the title: ruclips.net/video/6DTparqMBzM/видео.html
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I simply cannot thank you enough for all you have taught me...
It is joyous to see the details, the depth of your attention in these videos.
Thank you for sharing your workshop with us.
Thanks for these videos. So many great tips! Especially the backwards reaming - that's brilliant.
Finishing the job by turning backward is essential because it allows you to compress the wood by anticipating the compression that would occur in any case due to the rotation of the pegs. It is amazing how much the holes widen just by compression, especially if the density of the wood is not high.
Just discovered your channel and it's so relaxing to watch these videos. Especially the ones without music. Thank you :)
Thank you Davide! You are great professor!
Mãos abençoadas, é tão bom ver vc trabalhando, fazendo obras de arte, não me canso de ver seus vídeos, é como uma terapia pra mim,Deus lhe dê muitos anos de vida, com muita saúde.🙏
Davide, let me first offer my gratitude for both your efforts in making videos for us to enjoy, and for your obvious skill as an artisan. I would also like to make a recommendation: please narrate your videos. I may be alone in this, but I usually do not have time to simply watch a video with full attention and attempt to understand the nuances without explanation. It would be very helpful if you explained what you were doing and what you're thinking throughout. This would likely benefit all and help us all to better understand and appreciate what you're doing.
Thanks for your kind words, much appreciated!
Regarding the narration, unfortunately my spoken English is not good at all, so if I had to do it I would speak in Italian, and I don't think it would be very useful for those who are not native speakers.
Then, these videos are made while I am doing the real job, they are not fiction, and explaining what I am doing would make me lose the concentration necessary to not make mistakes.😊
PS Just in case you don't know, you can find the English translations of the texts and caption on the description page below the video
@@DavideSora Thank you for the reply. I understand. Don't let poor English stop you -- we'll learn what we can. But I completely understand not wanting to talk while you're crafting such works of art.
Nice work, the dedication and precision are remarkable. I do a lot of fine work making NMR probes and surface coils. What you are doing is more art. One question, are the peg heads all the same distance from the tuning box or are they lined up so they are the same distance from the centerline.
Thanks!
The peg heads are set at the same distance from the outside surface of the pegbox. This is to have the same space for the fingers that must grip and rotate the peg for tuning. Furthermore, if you measured the distance from the center line of the pegbox, the pegs would be progressively more protruding going from G to A, with an aesthetic result that is not very harmonious, and on the practical side much more difficult to measure accurately.
@@DavideSora that’s what I thought. I’m just learning to play, I’ve love violins Violas a Cellos since I was a child(50yrs). I my instruments is an intermediate one made by single Chinese luthier. It sounds very good, my son’s friend is a good violinist and said it plays and sounds wonderful. The original owner installed geared pegs and a narrow spaced nut (15mm). She had small hands. I’m going to leave the geared pegs but make a new nut 16.5 or 17mm (I have large hands)and install an ebony tail piece in place of the Wittner composite.
This was wonderful to watch. Davide, what did you brush into the pegs holes with that clear liquid?
it is ethyl alcohol, it is used sparingly to soften the edges of the varnish to prevent them from chipping when you cut with the reamer
Why do you use three different reamers? Thanks.
All three reamers have the same taper, so they are not substantially different. The smaller one is handy for enlarging the holes initially because it allows you to better see the orientation with respect to the pegbox as it protrudes more evenly on both sides (it is also essential to enlarge the holes starting from the 5 mm holes that I make in the scroll while carving thanks to its smaller minimum diameter), the other two differ only in the orientation of the cutting edges, one straight and the other spiral, it is not essential to have both but the one with the spiral cutting edges offers a more homogeneous cut but with little possibility of modifying the orientation with respect to the pegbox while the one with straight cutting edges, thanks to its smooth part, allows you to move the hole or change its inclination more effectively.
@@DavideSora Thank you
Davide what is this liquid you use? Water? and what is the advantage?
The liquid that I apply with the brush inside the edge of the holes is ethyl alcohol, it is used to soften the varnish and prevent it from splintering when reamed. You can find it described in more detail in this video: ruclips.net/video/6DTparqMBzM/видео.html
The videos entitled "from start to finish" are only a condensed version where I do not put the explanations, which instead are present in the description and in the captions of the more detailed individual videos, which you find gathered in this playlist: ruclips.net/video/NO8S8MjgisA/видео.html
As usual, the English translation can be found by opening the description window below the video
@@DavideSora thank you
É sempre necessario passare l'alesatore nei fori della cassetta quando si cambiano i piroli? Non basta "temperare" il pirolo nella misura ottimale?
Potrebbe anche non essere necessario, va valutato lo stato dei fori, ma spesso almeno una passata leggera per ripristinare la corretta conicità è utile. Essendo il legno un materiale anisotropo, i fori tendono ad ovalizzarsi con il tempo.
Are you using water in 5:36?
No, it's ethyl alcohol, it's used to moisten the edges of the varnish to prevent chipping
Is it not a good idea to put a piece of tape or a marker line in the reamer at the point where you would stop reaming? I was thinking if I made a violin, I would do this so each peg hole is the same diameter and I don't go too far into the wood.
You can use the tape as an indication of the depth when cutting with the reamer if you like. Still, you have to be careful because it will never be accurate enough as fine work is done by compressing the wood not cutting it. The rate of compression of each wood it's different, so I think it's more accurate to measure the protrusion of each peg, rather than to rely on a rough masking tape reference.
11:56 I wonder what he's feeling for?
I place my lips on the parts in contact with the pegbox to assess how warm they are. Turning the peg with some energy causes overheating of the contact parts: if the taper of the hole and that of the peg are matching, both points of contact must give the feeling of being at the same temperature. If one seems colder than the other it means that the taper of the peg is not correct and so the inclination of the peg shaper blade should be perfected to obtain the right match between the taper of the reamer and that of the shaper.
👏👏👏👏👏
Davide thank you for this Master video. What is the distance between de peg box and de collar of the peg that you use ??? Some people use 11mm, 12mm, even up 15mm. What is the correct?
There is no real standard for this measurement, also because it depends on various factors such as the hardness of the materials of the pegs and the pegbox and on the ambient humidity when doing this work. However, I would say that it is better not to exceed 12.5 mm of maximum distance from the pegbox to the collar, because otherwise the torque could be excessive and create a moment of inertia (bending of the head) before the peg starts to turn. In any case, for a new violin I consider a measurement between 11 and 12 mm to be optimal, considering the peg already settled, as as soon as it is installed the peg will inexorably compress the wood of the pegbox entering deeper and reducing this measurement. However, even if the distance becomes smaller, the good efficiency of the peg is not compromised if the shaft taper is uniform and accurate up to the collar, as it should be. You can find these details in this video, you can find the English translation in the description page under the title: ruclips.net/video/6DTparqMBzM/видео.html
@@DavideSora thank you very much.