makingtheviolinmanual.pdf

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Foreword

and F.A.Q.

T

Tools &

ools &

materials

A A n n t t o o n n i i o o S S t t rr a a d d i i vv a

arri i

T T h h e e M M e e s s s si i a ah h 1 1 7 7 1 1 6 6

T

Templates

emplates

Mould &

blocks

Ribs

a a d d c c

Front

4 4 ..2 2 3 3 ..6 6 3 3 ..5 5 2 2 .. 2 2 ..8 8 2 2 ..7 7 3 3 ..1 1 2 2 ..6 6 2 2 ..6 6 2 2 ..6 6 2 2 ..5 5 2 2 ..5 5 3 3 ..0 0 2 2 ..9 9 3 3 ..1 1

Back

Neck &

scroll

Assembly

Varnishing

Setup

T

Tuning

uning

1 1 22 33 44 55 66 77 8 8 9910101111

Measure-ments

ments

The

violin

making manual

Making

The

Violin.com

By Vojtěch Blahout, By Vojtěch Blahout,v.v.20162016 WWW WWW

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Stradivari Messiah 1716 Stradivari Messiah 1716 MakingTheViolin.com MakingTheViolin.com

Welcome!

The purpose of this

The purpose of this guide is to give baguide is to give basic information sic information about violin makinabout violin making. The aspiring viog. The aspiring violin maker wlin maker willill have the opportunity to build an instrument from start to ﬁnish with the help of step by

have the opportunity to build an instrument from start to ﬁnish with the help of step by step tutorialsstep tutorials accompanied by drawn images.

accompanied by drawn images. T

To make o make the best of the elethe best of the electronic formactronic format, all the images at, all the images are in vector gre in vector graphic format SVGraphic format SVG, drawn to, drawn to exact real world dimensions. At every step of you

exact real world dimensions. At every step of you building experience you can print out building experience you can print out the plans andthe plans and drawings and use them in

drawings and use them in direct comparison with what you have at hand. The direct comparison with what you have at hand. The SVG graphic format isSVG graphic format is supported by most modern browsers and editable by

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My goal was to create a site that would give starting points to those interested in violin making. The My goal was to create a site that would give starting points to those interested in violin making. The work is by no

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Together, we can ogether, we can make this make this site a rich, structursite a rich, structured information soed information source on violin urce on violin making.making. Enjoy your stay,

Enjoy your stay, Vojtech Blahout Vojtech Blahout PS: Y

PS: You can now download the whole site ou can now download the whole site as a PDF, see as a PDF, see the link "PDF" on the link "PDF" on the front page.the front page.

Fre

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Q> I hI havave a e a ququesestitionon/I /I dodon'n't ut undndererststanand wd whahat yt you ou memean an by by XYXY . W. Whehere re do do I gI get et an an ananswswerer?? A>

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T

Tools and

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Home - Tools and materials

- Tools and materials

1.

1. T

Terminolog

erminology

y

2.

2. T

Tools

ools

3.

3. Sharpening

Sharpening

4.

4. Hide glue

Hide glue

5.

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1 1 a a b b c c d d 2 2 a a b b 3 3

a

b

4 4 a a

When sharpening any instrument, there are two important aspects. You want the edge to be When sharpening any instrument, there are two important aspects. You want the edge to be as keen as possible and you also want it to be the ideal shape.

as keen as possible and you also want it to be the ideal shape. The sharpening of

The sharpening of any tool takany tool takes generally two es generally two steps: Shaping and/osteps: Shaping and/or nick removar nick removal andl and Honing.

Honing.

Term

Terminology

inology

See Fig. 1

See Fig. 1 for the basic bevel up tool geometryfor the basic bevel up tool geometry. Bevel up tools include chisels, gouge. Bevel up tools include chisels, gouges ands and block planes. "a"

block planes. "a" - Primary beve- Primary bevel angle, "b" l angle, "b" - Cutting angle, "c" - Secondary bevel /micro- Cutting angle, "c" - Secondary bevel /micro bevel/, "d"

bevel/, "d" - Back bev- Back bevel.el. See Fig. 2

See Fig. 2 for the basic bevel down tool gefor the basic bevel down tool geometryometry. Bevel down tools include smoo. Bevel down tools include smoothing andthing and jointer planes. "a"

jointer planes. "a" - Bevel angle, - Bevel angle, "b" "b" - Cutting angle.- Cutting angle.

1. 1. Initia

Initial shapi

l shaping or nic

ng or nick remo

k removal

val

In this step

In this step you decide the angle of you decide the angle of the bevel. Ythe bevel. You also remove any nicks and irregularitiesou also remove any nicks and irregularities making the shape of the tip perfect.

making the shape of the tip perfect. Shaping equipment you need Shaping equipment you need

If you want the bare bones setup, get a bench dual water stone 1000/4000. It should If you want the bare bones setup, get a bench dual water stone 1000/4000. It should measure at least 20 x 6 cm. Or even cheaper is a 600

measure at least 20 x 6 cm. Or even cheaper is a 600 grit sandpaper mounted on a block of grit sandpaper mounted on a block of wood.

wood.

If you want to go electric, for large mass removals, wet grinders are the best. There is no If you want to go electric, for large mass removals, wet grinders are the best. There is no need to fear for

need to fear for overheating, but they are rather slow. Sides of the wheel can be overheating, but they are rather slow. Sides of the wheel can be used for ﬂatused for ﬂat surfaces. Cheap ones use

surfaces. Cheap ones use vitrified stones which are vitrified stones which are less efficient but less efficient but degrade more slowlydegrade more slowly.. When you use your normal dry

When you use your normal dry grinder, overheating is a great risk. When grinder, overheating is a great risk. When that happens, thethat happens, the carbon in the steel

carbon in the steel combines with oxygen leaving you with just soft iron, plus you combines with oxygen leaving you with just soft iron, plus you anneal theanneal the tip making it

tip making it soft. The whole length where this occurs should always be soft. The whole length where this occurs should always be removed. Also,removed. Also, quenching tips in water during dry grinding leads to tearing. The tip

quenching tips in water during dry grinding leads to tearing. The tip should be in contact withshould be in contact with the coolant at all

the coolant at all times, so don't use times, so don't use dry grinders unless you really know what you're doing.dry grinders unless you really know what you're doing. If you must use a cheap dry grinder, at least change the

If you must use a cheap dry grinder, at least change the wheel for something like Nortonwheel for something like Norton 38A80 and buy a separate tool rest. If glazing occurs, which can happen when you grind 38A80 and buy a separate tool rest. If glazing occurs, which can happen when you grind brass or with cheap grinders a diamond wheel dresser should be used to restore the wheel. It brass or with cheap grinders a diamond wheel dresser should be used to restore the wheel. It can also be used to remove any humps on the wheel.

can also be used to remove any humps on the wheel.

Belt sanders can on many occasions be used instead of bench grinders. Belt sanders can on many occasions be used instead of bench grinders. Shaping

Shaping

The shape and the

The shape and the bevel depend on bevel depend on the metal used but athe metal used but also on the use of lso on the use of the instrument.the instrument. Japanese instruments ar

Japanese instruments are usually harder e usually harder 62RC allow62RC allowing for a king for a keener edge, so a eener edge, so a bevel of bevel of higher 45° angle is

higher 45° angle is needed to prevent breaking. With western blades which are a bit needed to prevent breaking. With western blades which are a bit softer,softer, and less prone to chipping, the bevel angle can be less, say 25°.

and less prone to chipping, the bevel angle can be less, say 25°. Cutting the denser sorts

Cutting the denser sorts of wood requires blunter bevel angles, whereas softer woods allowof wood requires blunter bevel angles, whereas softer woods allow for more sharply beveled tips. Ideally, the

for more sharply beveled tips. Ideally, the sharpest bevel should be employed which makessharpest bevel should be employed which makes the tip still strong enough to withstand the pressure of the wood.

the tip still strong enough to withstand the pressure of the wood.

2. 2. H

Hon

onin

ing

g

During honing you make the bevels smooth as

During honing you make the bevels smooth as a mirrora mirror. Then you create the micro bevel,. Then you create the micro bevel, making the tip as sharp as possible.

making the tip as sharp as possible. Honing equipment you need

Honing equipment you need The cheapest tools

The cheapest tools would be strowould be strops, leather or eveps, leather or even better wooden. n better wooden. Cut a groove Cut a groove in ain a softwood, maybe basswood, apply chromium oxide compound and you

softwood, maybe basswood, apply chromium oxide compound and you have a perfectlyhave a perfectly shaped strop for honing. The same

shaped strop for honing. The same for the inner side. for the inner side. In seconds, you can make a woodenIn seconds, you can make a wooden strop that ﬁts perfectly the shape of your gouge.

strop that ﬁts perfectly the shape of your gouge. For chisels and plane irons, if you

For chisels and plane irons, if you can, buy a honing guide. can, buy a honing guide. It will help you It will help you make the bevelsmake the bevels accurate and lead to consistent

accurate and lead to consistent micro bevels.micro bevels.

An electrified alternative is the use of shaped felt wheels, which are ideal for honing the An electrified alternative is the use of shaped felt wheels, which are ideal for honing the inside of gouges. They are a great substitute for the fine bench stones. The to of the wheel inside of gouges. They are a great substitute for the fine bench stones. The to of the wheel should rotate away from you. Belt sanders are great for

should rotate away from you. Belt sanders are great for honing with leather belts.honing with leather belts. Micro bevels

Micro bevels

Micro bevels save time, tools and energy

Micro bevels save time, tools and energy. The finest possible edge . The finest possible edge in the shortest time. in the shortest time. If youIf you need fine angular control, use a

need ﬁne angular control, use a honing guide. Only takes half a dozen honing guide. Only takes half a dozen strokesstrokes..

Sharpening tools speciﬁcs

Chisels

Chisels 1.

1. If new, remoIf new, remove the lacquerve the lacquer.. 2.

2. Lap the face so that the edge is not jagged. MakLap the face so that the edge is not jagged. Make sure the stone is ﬂat.e sure the stone is ﬂat. 3.

3. Fix the nickFix the nicked chisels on your bench stone or wet grinder.ed chisels on your bench stone or wet grinder. 4.

4. HoHonene..

A chisel should always be

A chisel should always be at the lowest bevel angle at the lowest bevel angle consistent with edge retention. Bevelconsistent with edge retention. Bevel angle should be higher

angle should be higher for narrower chisels, say 30°, to prevent chipping.for narrower chisels, say 30°, to prevent chipping. Japanese chisels ar

Japanese chisels are usually made e usually made of hard steel fof hard steel face combined with ace combined with an iron back an iron back which addwhich add toughness and ﬂexibility to the chisel. The

toughness and ﬂexibility to the chisel. The chisels are usually very hard 62-RC and thereforechisels are usually very hard 62-RC and therefore quite brittle. They are usually sharpened at

quite brittle. They are usually sharpened at higher bevel angles. Ideal for higher bevel angles. Ideal for softwoods. Most of softwoods. Most of them are hollow on their face with just a couple of mm of a platform adjacent to the tip, to them are hollow on their face with just a couple of mm of a platform adjacent to the tip, to ease sharpening.

ease sharpening. Planes

Planes

With a new plane you will probably need to lap the sole. It is usually hollow. You don't need to With a new plane you will probably need to lap the sole. It is usually hollow. You don't need to ﬂatten the whole sole, but at the beginning, right before the mouth and at the end the ﬂatten the whole sole, but at the beginning, right before the mouth and at the end the solesole must touch. Use 90 grit on a sheet

must touch. Use 90 grit on a sheet of glass, iron plate or stone.of glass, iron plate or stone. T

True the bed. Prue the bed. Put some paint on thut some paint on the iron, insert in e iron, insert in position, removposition, remove and see there and see there it imprints.e it imprints. Carbon paper.

Carbon paper.

Dress the lever cap so

Dress the lever cap so that it is that it is in perfect contact with the in perfect contact with the chip-breakchip-breakerer.. T

True the chip-brearue the chip-breakerker. At an angle . At an angle that makethat makes the point of cos the point of contact at the very ntact at the very end. Have it setend. Have it set as close to the keen edge as possible, maybe 1mm, because the closer it is the smaller will as close to the keen edge as possible, maybe 1mm, because the closer it is the smaller will the broken particles be resulting in smoother surface.

the broken particles be resulting in smoother surface. Sharpening the iron:

Sharpening the iron: 1.

1. If new, remoIf new, remove the lacquerve the lacquer.. 2.

2. Lap the face so that the edge is not jagged. MakLap the face so that the edge is not jagged. Make sure the stone is ﬂat.e sure the stone is ﬂat. 3.

3. Fix the nickFix the nicked chisels on your bench stone or wet grinder.ed chisels on your bench stone or wet grinder.

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1 1 2 2 20C 20C 40C 40C 60C 60C 80C 80C 100C 100C 3 3 MakingTheViolin.com MakingTheViolin.com

Hide glue and gluing

In the construction of violins only high quality hide glue should be used. Other glues, such as In the construction of violins only high quality hide glue should be used. Other glues, such as the white, yellow glue the

the white, yellow glue the cabinetmakcabinetmakers use, should be ers use, should be avoided. The main reasons for hideavoided. The main reasons for hide glue are reversibility /the joint can be

glue are reversibility /the joint can be taken apart and re-glued again/ and speciﬁc toughnesstaken apart and re-glued again/ and speciﬁc toughness of the joint with

of the joint with no creep and good acoustical properties.no creep and good acoustical properties. What you need

What you need 1.

1. Some hide glue. It can be in the Some hide glue. It can be in the form of small flakes, pearls or powderform of small flakes, pearls or powder. Usually offered are. Usually offered are strengths varying from 250 to 400 grams. Stronger sorts give you less working times so strengths varying from 250 to 400 grams. Stronger sorts give you less working times so take the middle road and buy something of

take the middle road and buy something of around 300 grams of strength. Usually smallaround 300 grams of strength. Usually small amounts of glue are used during building so you don't have to buy more than 100gr of dry amounts of glue are used during building so you don't have to buy more than 100gr of dry glue to get you started.

glue to get you started. Avoid the hide glue that is

Avoid the hide glue that is oﬀered liquid and premixed.oﬀered liquid and premixed. 2.

2. A glue pot/kettle. It should be rathA glue pot/kettle. It should be rather small, ideally 8-10 cm in diameter, allower small, ideally 8-10 cm in diameter, allowing you toing you to prepare small amounts of

prepare small amounts of glue quicklyglue quickly. Hide glue . Hide glue temperature must never exceed 70C, sotemperature must never exceed 70C, so you should be able to regulate the pot's temperature or its power output should be in the you should be able to regulate the pot's temperature or its power output should be in the range of 10ths of

range of 10ths of watts. A regulated, double bottom pot with watts. A regulated, double bottom pot with an insulating water-bed isan insulating water-bed is perfe

perfect. See Fict. See Fig. 1 g. 1 and Fig. 2 and Fig. 2 for an exfor an examplample of the pot and hoe of the pot and hot plate.t plate. If you are pressed for money, or

If you are pressed for money, or love to DIY, you can love to DIY, you can build a small glue build a small glue pot yourselfpot yourself. It will. It will work even without the water-bed, but you must make sure the wattage of

work even without the water-bed, but you must make sure the wattage of the heatingthe heating element is not more than 60 watts - a small halogen light

element is not more than 60 watts - a small halogen light bulb, such as the G9, can servebulb, such as the G9, can serve well here. The upside is that the heat up times are short and you will have a

well here. The upside is that the heat up times are short and you will have a batch of hotbatch of hot glue ready in a minute. The downside: You will have to watch the pot like a hawk, keep glue ready in a minute. The downside: You will have to watch the pot like a hawk, keep stirring and turn it

stirring and turn it oﬀ before it overheats. It may seem complicated but oﬀ before it overheats. It may seem complicated but when you getwhen you get used to this, you can prepar

used to this, you can prepare small amounts of glue very quice small amounts of glue very quicklykly. See Fig. 3 . See Fig. 3 for anfor an example of such a setup.

example of such a setup. This glue pot is mad

This glue pot is made of a roune of a round wooden base ad wooden base and a sheet of mnd a sheet of metal turned aretal turned around a bell,ound a bell, which serves as a pot. The heating element is the halogen light bulb mentioned above. which serves as a pot. The heating element is the halogen light bulb mentioned above. Use your imagination.

Use your imagination. The bottom line: Y

The bottom line: You don't need anou don't need anything fancy or ything fancy or regulated but a gregulated but a good thermometerood thermometer before you get the feel for this is a must.

before you get the feel for this is a must. 3.

3. A set of brushes and knives. One smalleA set of brushes and knives. One smaller 5 mm wide all-purpose brush, one larger 5 mm wide all-purpose brush, one larger 20 mmr 20 mm wide for bigger jobs. A palette knife will be used to work the

wide for bigger jobs. A palette knife will be used to work the glue into the seams whenglue into the seams when gluing to top and bottom plates to the ribs.

gluing to top and bottom plates to the ribs. Preparing the glue

Preparing the glue 1.

1. For a start, put a teaspooFor a start, put a teaspoon of hide glue in the glue pot and add about 100ml of frn of hide glue in the glue pot and add about 100ml of freshesh water.

water. 2.

2. Stir and let stand for 1-2 hours. When you see the glue has gelleStir and let stand for 1-2 hours. When you see the glue has gelled and grown in sized and grown in size considerably, it is time to heat it up.

considerably, it is time to heat it up. 3.

3. TTurn on the glue pot and make sure the temperature never exceedurn on the glue pot and make sure the temperature never exceeds 70C for longer periodss 70C for longer periods of time. Should your hide glue start to boil, don't use it,

of time. Should your hide glue start to boil, don't use it, and prepare another batch.and prepare another batch. 4.

4. Keep stiring until you aKeep stiring until you are sure there arre sure there are no undissolved pieces in the pot.e no undissolved pieces in the pot. 5.

5. Check for the thickness of the glue. VCheck for the thickness of the glue. Visually, the glue is hot and thick enough if a ﬁlmisually, the glue is hot and thick enough if a ﬁlm starts to form over its

starts to form over its surface. Ysurface. You will learn to ou will learn to guess the right thickness by guess the right thickness by letting theletting the glue drop from the brush. The

glue drop from the brush. The medium thickness hide glue should medium thickness hide glue should feel oily between yourfeel oily between your ﬁngers. The thin hide glue used for glue sizing should

ﬁngers. The thin hide glue used for glue sizing should almost be the consistency of milk.almost be the consistency of milk. Make sure the glue is about 70C when testing for thickness.

Make sure the glue is about 70C when testing for thickness. Application

Application 1.

1. Always try to work in a warm room with no droughts so that you have more time to makeAlways try to work in a warm room with no droughts so that you have more time to make the joint.

the joint. 2.

2. Preheat the critical joints with a haPreheat the critical joints with a hair dryer, ie. center seam joints.ir dryer, ie. center seam joints. 3.

3. Make surMake sure everything fits right e everything fits right without the glue fiwithout the glue first.rst. 4.

4. Have everything to hand, you need to act quickly and preciselyHave everything to hand, you need to act quickly and precisely.. 5.

5. Don't use more glue than neceDon't use more glue than necessary and always remssary and always remove the surplus with a damp brush orove the surplus with a damp brush or towel. Sometimes it may be better to wait for the glue to gel a

towel. Sometimes it may be better to wait for the glue to gel a bit for easier removal. Bebit for easier removal. Be especially careful with the areas that will be

especially careful with the areas that will be varnished. Areas with hide glue blotches willvarnished. Areas with hide glue blotches will not absorb the stain

not absorb the stain properly, leaving marks.properly, leaving marks. 6.

6. When you are using the palette kWhen you are using the palette knife, always have it prnife, always have it preheated in hot water, otherwiseheated in hot water, otherwisee the glue gels fast when in contact with the cold knife.

the glue gels fast when in contact with the cold knife. Drying times

Drying times

Under normal humidity and temperature the hide glue should be left to dry for about 12-24 Under normal humidity and temperature the hide glue should be left to dry for about 12-24 hours. Usually overnight should be enough time. More structurally

hours. Usually overnight should be enough time. More structurally important joints, such asimportant joints, such as the center joint or the neck joint, should be left undisturbed for the full

the center joint or the neck joint, should be left undisturbed for the full 24 hours.24 hours. Hide glue shelf life

Hide glue shelf life The dry hide glue

The dry hide glue should be stored should be stored somewhere..somewhere... dry. dry. Properly . Properly stored, it has stored, it has an almost inﬁnitean almost inﬁnite shelf life.

shelf life.

The shelf life of

The shelf life of the preparethe prepared hide glue depends od hide glue depends on many factors: n many factors: humidity, roomhumidity, room temperature, possible contamination, thickness. It all boils down to

temperature, possible contamination, thickness. It all boils down to how bacteria friendlyhow bacteria friendly your workshop is. The freshly prepared glue is the

your workshop is. The freshly prepared glue is the strongest, so for critical joints, ie. strongest, so for critical joints, ie. whenwhen joining the billets for th

joining the billets for the top and bottom e top and bottom plates, I would alwplates, I would always use frays use fresh glue. On the esh glue. On the otherother hand, many violin makers may leave their glue in

hand, many violin makers may leave their glue in the pot for days without the pot for days without apparent loss of apparent loss of strength.

strength.

Some people prepare the glue, let it cool down, cut it up into small cubes and put

Some people prepare the glue, let it cool down, cut it up into small cubes and put them in athem in a fridge.

fridge.

The signs of bacte

The signs of bacterial degradation arrial degradation are the change in coe the change in color, often turlor, often turning brown, ning brown, tiny waterytiny watery pits on the surface and a bad smell.

pits on the surface and a bad smell. So if you want

So if you want to stay on the to stay on the safe side, always prepare a fresh batch of your glue.safe side, always prepare a fresh batch of your glue. Category:

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A method of ascertaining the speciﬁc gravity of wood is to submerge the wooden billet in water A method of ascertaining the speciﬁc gravity of wood is to submerge the wooden billet in water and divide the length of the submerged part by the total length of the

and divide the length of the submerged part by the total length of the billet.billet. Alternatively, you can use the widget below to

Alternatively, you can use the widget below to calculate the speciﬁc gravity for you. Be calculate the speciﬁc gravity for you. Be sure tosure to measure the dimensions and weight as precisely as

measure the dimensions and weight as precisely as possible. Tpossible. Typical results range from 0.38 - ypical results range from 0.38 - 0.450.45 for spruce and 0.50 - 0.60 for maple.

for spruce and 0.50 - 0.60 for maple. The dimensions ar

The dimensions are input in millimeterse input in millimeters , the weight in , the weight in gramsgrams . The widget ﬁ. The widget ﬁrst calculates therst calculates the surfa

surface ce = ((a+c)/= ((a+c)/2)*b, the2)*b, then the n the volumvolume e = ((s= ((surfaurfacece +surf+surfaceace )/2)*)/2)*d and find and finally ally specispecific gfic gravitravityy =

= weweigightht /v/vololumumee .. a

a bb cc dd WWeeiigghhtt

Calculate specific gravity

a

b

c

d

Determining the speciﬁc gravity of wood

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A few thoughts

The template is the

The template is the basis of all youbasis of all your work on the vr work on the violin, so a lot oiolin, so a lot of eﬀort should go f eﬀort should go into itsinto its proper execution. You have to decide whether you are building an exact copy of an existing proper execution. You have to decide whether you are building an exact copy of an existing instrument or an approximated interpretation of an existing instrument or an

instrument or an approximated interpretation of an existing instrument or an originaloriginal construction.

construction.

In case of an exact copy, you will use a full size template describing the outline of the copied In case of an exact copy, you will use a full size template describing the outline of the copied instrument to the greatest detail. If this instrument is of any considerable age and has been instrument to the greatest detail. If this instrument is of any considerable age and has been used, it will have

used, it will have at least some wear. That wear will get copied as at least some wear. That wear will get copied as well. The shape of thewell. The shape of the instrument itself changes over time, the

instrument itself changes over time, the wood shrinks diﬀerently in various directions. All thatwood shrinks diﬀerently in various directions. All that gets copied. Choosing this approach, if you want

gets copied. Choosing this approach, if you want to arrive at something "right" to arrive at something "right" you have toyou have to work very precisely, because you are at least 8

work very precisely, because you are at least 8 "generations" away from the original outline"generations" away from the original outline and every generation brings some amount of

and every generation brings some amount of error with it.error with it.

In case of an interpretation, you can still use a full size template, which you will "correct" to In case of an interpretation, you can still use a full size template, which you will "correct" to some degree. Y

some degree. You can remove obvious spots on the ou can remove obvious spots on the outline, where the wear has caused theoutline, where the wear has caused the shape to deteriorate

shape to deteriorate and you can and you can also correct some of also correct some of the asymmetrythe asymmetry..

Besides the full size template, you can use a half template, which you ﬂip on the other side Besides the full size template, you can use a half template, which you ﬂip on the other side toto get perfect symmetry

get perfect symmetry. The downside of this . The downside of this is that you will is that you will have to choose which half of have to choose which half of thethe original violin you will use.

original violin you will use. Without correctionWithout correction, if the , if the original violin is very asymmetrical youoriginal violin is very asymmetrical you will end up

will end up with a very diﬀerently shaped violin. Twith a very diﬀerently shaped violin. To illustrate this, get o illustrate this, get a picture of someone`sa picture of someone`s face, and use just the left or right half to reconstruct the whole. The change may be quite face, and use just the left or right half to reconstruct the whole. The change may be quite dramatic.

dramatic.

Knowing all that, for a

Knowing all that, for a novice, who is very likely to introduce a lot novice, who is very likely to introduce a lot of errors, the symmetricalof errors, the symmetrical template is almost always a better

template is almost always a better choice. Remembechoice. Remember, errors tend to accumulate withr, errors tend to accumulate with iterations.

iterations. Y

You may also ou may also decide that you wdecide that you want to construct the ant to construct the outline yourself, outline yourself, without it being dirwithout it being directlyectly based on any existing violin. There are many systems of

based on any existing violin. There are many systems of violin construction out there but toviolin construction out there but to me the most simple ones, based on the use of compass and basic geometry seem the most me the most simple ones, based on the use of compass and basic geometry seem the most plausible. For an in depth approach to this, see the great François Denis` book Traité de plausible. For an in depth approach to this, see the great François Denis` book Traité de lutherie.

lutherie.

Because this manual is meant mainly for beginners, we will take the full outline and convert it Because this manual is meant mainly for beginners, we will take the full outline and convert it into a half template from which in the next chapter we will construct a perfectly symmetrical into a half template from which in the next chapter we will construct a perfectly symmetrical mould. The full size outline is based on the famous Messiah violin, built by Antonio Stradivari mould. The full size outline is based on the famous Messiah violin, built by Antonio Stradivari in 1716. This violin is in perfect shape with no

in 1716. This violin is in perfect shape with no discernible weardiscernible wear, so we will even out just the, so we will even out just the obvious irregularities which are the

obvious irregularities which are the result of handwork.result of handwork.

The template

1.

1. For the haFor the half template use a lf template use a 2 mm 2 mm thick sheet of plethick sheet of plexiglass, or aluminium xiglass, or aluminium which is at leastwhich is at least 15 cm

15 cm wide wide and 3and 38 cm 8 cm long.long. 2.

2. Get the outline of the violin you want to interpret. YGet the outline of the violin you want to interpret. You can either copy the outline from anou can either copy the outline from an existing violin or, you can buy a Strad poster, which, on its back has the outline plus the existing violin or, you can buy a Strad poster, which, on its back has the outline plus the arching curves and other mea

arching curves and other measurements. The outline shosurements. The outline should look something likuld look something like in Fig. 1e in Fig. 1 .. If you decided to build the Messiah violin in this

If you decided to build the Messiah violin in this guide, you can take a short cut and printguide, you can take a short cut and print out the ﬁnishe

out the ﬁnished half templad half template in Fig. te in Fig. 44 . This outlin. This outline should be e should be 350 mm 350 mm long. If folong. If for anyr any reason you cannot print the outline

reason you cannot print the outline to scale from your web browser, save the to scale from your web browser, save the svg imagesvg image and print it from Inkscape (with proper margins). Now you can skip to the gluing as and print it from Inkscape (with proper margins). Now you can skip to the gluing as described in paragraph 9.

described in paragraph 9. 3.

3. Copy this outline using Copy this outline using a photocopier or a photocopier or print out the outline in print out the outline in Fig. 1Fig. 1 . Y. You will need aou will need a printer, that is capable of printing on A3 size papers as the outline is ov

printer, that is capable of printing on A3 size papers as the outline is over 35 cm er 35 cm longlong exceeding the A4 format.

exceeding the A4 format. 4.

4. Determine the ceDetermine the centerline of the outlinenterline of the outline. Measure the . Measure the widths in points A, B and C, divide bywidths in points A, B and C, divide by 2 to determine the true center o

2 to determine the true center of the violin. See f the violin. See Fig. 2Fig. 2 .. 5.

5. Mark ouMark out the poit the points X1 nts X1 and X2, about 8 cm and X2, about 8 cm in froin from top and bom top and bottom, sttom, see Figee Fig. 3. 3 . Thes. These wille will serve as ﬁxing points for

serve as ﬁxing points for correct alignment later on the mould.correct alignment later on the mould. 6.

6. On the side, which you chose foOn the side, which you chose for the half template, construct the contor the half template, construct the contour of the template.ur of the template. This contour is infer

This contour is inferred from red from the plate outline, mthe plate outline, minus the overhainus the overhang, minus the thickneng, minus the thickness of ss of the ribs, which in our case makes, in total, about 3.3 mm. Use a compass to draw a

the ribs, which in our case makes, in total, about 3.3 mm. Use a compass to draw a parallel line inside the o

parallel line inside the outline, see the rutline, see the red line in Fig. 3ed line in Fig. 3 .. During this process of parallel tracing

During this process of parallel tracing you also have a chance to you also have a chance to correct anything youcorrect anything you don`t like about the original outline

don`t like about the original outline of the violin. Yof the violin. You want to even out ou want to even out the bumps withoutthe bumps without loosing the original.

loosing the original. 7.

7. The general 3.3 mm The general 3.3 mm inset can be applied inset can be applied to all of the shato all of the shape, excpe, except for the corneept for the corners. Therers. There the inset gradually increases. The increase is steeper in the C bout and less so coming the inset gradually increases. The increase is steeper in the C bout and less so coming from the upper and lower bouts. Depending on the original model, the end of the ribs may from the upper and lower bouts. Depending on the original model, the end of the ribs may be 0-4 mm

be 0-4 mm inset from the end of the corinset from the end of the corners. The good common vaners. The good common value here is 2 mm, seelue here is 2 mm, see the dashed lines denoting the ends of the ribs in

the dashed lines denoting the ends of the ribs in Fig. 3.Fig. 3.

It is therefore a good idea to try to draw the complete corners, including ribs, for It is therefore a good idea to try to draw the complete corners, including ribs, for reference. F

reference. From this you can infer rom this you can infer the inner outline of the inner outline of the mould. Study the cornerthe mould. Study the corner const

constructioruction in Fn in Fig. 3ig. 3 .. 8.

8. Once you have the template oOnce you have the template outline complete, draw the reutline complete, draw the remaining line which runs parallelmaining line which runs parallel to the centerline about 8 mm oﬀ the centerline, closing the template.

to the centerline about 8 mm oﬀ the centerline, closing the template. 9.

9. Glue the half template outline to the plastic or aluminium sheet as mentioned in Par. 1. ItGlue the half template outline to the plastic or aluminium sheet as mentioned in Par. 1. It is preferable to use some sort of superglue, as other glues may tend to peel. This, of is preferable to use some sort of superglue, as other glues may tend to peel. This, of course, depends on the material

course, depends on the material you`re using. Avoyou`re using. Avoid the use id the use of water based gluesof water based glues altogether as those will cause the paper to spread, leaving you with a bigger outline. altogether as those will cause the paper to spread, leaving you with a bigger outline. 10.

10. Carefully cut out the outline of thCarefully cut out the outline of the template and finalize its contour with a file. Ae template and finalize its contour with a file. About 3 cmbout 3 cm from top and bottom cut out notches which will help you see the centerline when aligning from top and bottom cut out notches which will help you see the centerline when aligning the template to the mould.

the template to the mould. Y

You can see the ou can see the ﬁnished template in ﬁnished template in Fig. 4Fig. 4 ..

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The outline and measure

The outline and measurements

ments

1.

1. For For the mothe mould, usuld, use a 12 mm e a 12 mm thickthick, 400 mm , 400 mm tall atall and 250 mnd 250 mm m wide pwide piece oiece of woof wood. It isd. It is important that the wood is

important that the wood is as stable as possible, so as stable as possible, so multi-layered plywood or battenboardmulti-layered plywood or battenboard are preferred.

are preferred. 2.

2. After you havAfter you have cut it to the right dimensions, you need to transfee cut it to the right dimensions, you need to transfer the outline.r the outline. 3.

3. First, draFirst, draw a centerline on the wood, then aligw a centerline on the wood, then align the template with it.n the template with it. 4.

4. Now you need to drill two holes, aNow you need to drill two holes, about 8 cm bout 8 cm in from top and bottom of the temin from top and bottom of the template, onplate, on the centerline, drilling through the template itself as well as the wood. For this, a drill press the centerline, drilling through the template itself as well as the wood. For this, a drill press is the best.

is the best. See the TSee the Templates chapter for the exact location of emplates chapter for the exact location of the points.the points. 5.

5. Then get two wooden pegs, mThen get two wooden pegs, matching the diameter of the drill bit. Or you can use thatching the diameter of the drill bit. Or you can use the drille drill bits themselves.

bits themselves. 6.

6. Securing the template in perfect alignment wSecuring the template in perfect alignment with the centerline in this way, scribe a lineith the centerline in this way, scribe a line along its contour, ﬂip the template on the other side and repeat. Repeat also on the other along its contour, ﬂip the template on the other side and repeat. Repeat also on the other side of the mould,

side of the mould, making sure the orientation of the making sure the orientation of the template is correct.template is correct. 7.

7. Now you need Now you need to transfer the lines ato transfer the lines as in Fig. 1s in Fig. 1 , all measure, all measurements are in millimments are in millimeters. Theeters. The cornerblock recesses are drawn as follows: 1. Draw the "a"

cornerblock recesses are drawn as follows: 1. Draw the "a" line, 2. Using a line, 2. Using a compass, fromcompass, from point x1, measure 26 mm

point x1, measure 26 mm and create the point x2 on the C bout, 3. and create the point x2 on the C bout, 3. from x2, draw the "b"from x2, draw the "b" line connecting it back to the "a" line.

line connecting it back to the "a" line. 8.

8. Repeat on all rRepeat on all remaining corners. Remaining corners. Repeat for the other side as well.epeat for the other side as well. 9.

9. It is also a good idea to mark the top and bottom side of tIt is also a good idea to mark the top and bottom side of the mould so that you alwayshe mould so that you always know which side is facing you. Also, add an inscription on the top of the mould about the know which side is facing you. Also, add an inscription on the top of the mould about the name and author of the

name and author of the source violin you are interpreting.source violin you are interpreting.

Cutting out the mould

1.

1. After you have markAfter you have marked out those lines, you can proceed to cut out the actual mould. Theed out those lines, you can proceed to cut out the actual mould. The best tool for this is the band

best tool for this is the band saw, which will make it easy for you to achieve the perfectlysaw, which will make it easy for you to achieve the perfectly perpendicular cuts. If you are cutting

perpendicular cuts. If you are cutting the mould by hand, make sure you stay the mould by hand, make sure you stay well oﬀ thewell oﬀ the line and that you are not undercutting into the line on the bottom side.

line and that you are not undercutting into the line on the bottom side. 2.

2. Use a file to finish Use a file to finish the contourthe contour.. 3.

3. For the clamp openingFor the clamp openings "c1-c8", a press drill again is the best tool. Prs "c1-c8", a press drill again is the best tool. Predrill all the holesedrill all the holes with a 3 mm

with a 3 mm bit. Then, using a bit. Then, using a 25 mm 25 mm drill bit, to avoid drill bit, to avoid splitting, start a hole osplitting, start a hole on the top,n the top, drilling about 1/3 in, then ﬂip the mould and

drilling about 1/3 in, then flip the mould and finish.finish. 4.

4. The four "e1-e4" holes should now be prThe four "e1-e4" holes should now be predrilled with a 2 mm edrilled with a 2 mm bit. Four screwbit. Four screws will be laters will be later used here to elevate the

used here to elevate the mould above the workbench surface a bit mould above the workbench surface a bit when attaching thewhen attaching the blocks.

blocks. Y

You can see the ou can see the ﬁnished mould in Fﬁnished mould in Fig. 2ig. 2 .. 5.

5. Dry soap should now be applied on the pDry soap should now be applied on the perpendicular side walls of the mould, eerpendicular side walls of the mould, exceptingxcepting the areas the blocks will be glued to. This prevents accidental gluing of the ribs to the the areas the blocks will be glued to. This prevents accidental gluing of the ribs to the mould, should you spill some glue where it does not belong.

mould, should you spill some glue where it does not belong. 6.

6. The areas wherThe areas where the blocks should stick - the longer sides of the re the blocks should stick - the longer sides of the recesses - should be glueecesses - should be glue sized with thin hide glue.

sized with thin hide glue.

The blocks

1.

1. Cut sprucCut spruce blocke blocks to the follos to the following sizwing sizes: Tes: Top "A": 32 x 50 x 22 mmop "A": 32 x 50 x 22 mm , Botto, Bottom "B": 34 x 46m "B": 34 x 46 x 20 mm

x 20 mm , Upper c, Upper corneorners "C, D"rs "C, D": 33 x 25 x 28 mm: 33 x 25 x 28 mm , Lowe, Lower corner corners "E, F": 3rs "E, F": 33 x 25 x 283 x 25 x 28 mm

mm .. The grain should run The grain should run perpendicular to the bperpendicular to the bottom plane on wottom plane on which they "sit", allowhich they "sit", allowinging for easy, precise cutting {from top to

for easy, precise cutting {from top to bottom} later on.bottom} later on. 2.

2. At the bottom side of the mould, scrAt the bottom side of the mould, screw in four screws into the prew in four screws into the predrilled holes so that theedrilled holes so that the mould gets lifted evenly by approx

mould gets lifted evenly by approximately 9 mmimately 9 mm . Make sure that all four screws mak. Make sure that all four screws makee contact with your ﬂat workbench and that

contact with your ﬂat workbench and that no rocking is present.no rocking is present. 3.

3. Fit the blocFit the blocks in the mortices in the mould. The gluing surfaceks in the mortices in the mould. The gluing surfaces are the thick red lines ins are the thick red lines in Fig. 3

Fig. 3 It is important that these surfaces are in perfeIt is important that these surfaces are in perfect contact with the mould. The topct contact with the mould. The top and bottom "A, B" blocks should have a slight gap at

and bottom "A, B" blocks should have a slight gap at the sides allowing them to bethe sides allowing them to be inserted easily

inserted easily. Make sure the annual rings are directed away fro. Make sure the annual rings are directed away from the mould as in Fig. 3m the mould as in Fig. 3 .. With most violins, the height of

With most violins, the height of the ribs decreases gradually along the the ribs decreases gradually along the length of the bodylength of the body.. Therefore,

Therefore, in the ﬁnished vioin the ﬁnished violin, the bottom bloclin, the bottom block may be 32 mk may be 32 mm m tall, whereatall, whereas the tops the top block may be 30 mm

block may be 30 mm in height. This, of course, aﬀin height. This, of course, aﬀects the upper and lower cornerbloects the upper and lower cornerblockscks as well. For Messia

as well. For Messiah, the final heights in the finished rib structure is as foh, the final heights in the finished rib structure is as follows: A 30 mmllows: A 30 mm ,, B 3

B 32 m2 mmm , C , C 3030.5 .5 mmmm , D , D 3030.5 .5 mmmm , E , E 3131.5.5mmmm , F , F 3131.5 .5 mmmm .. 4.

4. With these numbers in mind, if necessaWith these numbers in mind, if necessary, trim the blocks to their ﬁnal heights leavinry, trim the blocks to their ﬁnal heights leavingg them about 2 mm

them about 2 mm tallertaller.. 5.

5. Glue the blocks to the mould using medium thickGlue the blocks to the mould using medium thickness hide glue. Apply the glue to theness hide glue. Apply the glue to the longer side of each mortice only. Remember, you will have to break the blocks off the longer side of each mortice only. Remember, you will have to break the blocks off the mould when the ribs are finished, so avoid applying too much glue. Hold in position with mould when the ribs are finished, so avoid applying too much glue. Hold in position with your hands for about 30

your hands for about 30 seconds. Let dry overnight.seconds. Let dry overnight. 6.

6. Once the glue is completely dry, sanOnce the glue is completely dry, sand the blocks down on both sides, bringing their heighd the blocks down on both sides, bringing their heightt to about 1 mm

to about 1 mm above the ﬁnal numbers. Fabove the ﬁnal numbers. For this, use a long belt of sanding paperor this, use a long belt of sanding paper

clamped down on both ends to your workbench or glued onto a flat /ie. 6-8 mm thick glass/ clamped down on both ends to your workbench or glued onto a flat /ie. 6-8 mm thick glass/ plate. Later on you will finalize the heights of the ribs

plate. Later on you will ﬁnalize the heights of the ribs using this method again, but thisusing this method again, but this time with the ribs already glued on.

time with the ribs already glued on. 7.

7. TTake the template, realign it with the mould, mark the contour on all the blocks with aake the template, realign it with the mould, mark the contour on all the blocks with a pencil or a scribe. Mark the true center of the

pencil or a scribe. Mark the true center of the violin on the top and bottom blocks. See theviolin on the top and bottom blocks. See the red l

red lines iines in Fign Fig. 4. 4 .. 8.

8. Flip the mould over and repeaFlip the mould over and repeat the marking on the other side.t the marking on the other side.

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Ribs

Home

Home - Ribs

- Ribs

1.

1. Preparing the ribs

Preparing the ribs

2.

2. Cutting the C blocks

Cutting the C blocks

3.

3. Bending the C ribs

Bending the C ribs

4.

4. Cutting the upper and lower bout

Cutting the upper and lower bout blocks

blocks

5.

5. Gluing the top and bottom ribs

Gluing the top and bottom ribs

6.

6. Finishing the corners

Finishing the corners

7.

7. Linings

Linings

8.

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b

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Preparing the ribs

1.

1. Choose good maple, which will satisfy you both visually and physicallyChoose good maple, which will satisfy you both visually and physically.. The wood should

The wood should probably be flprobably be flamed and fleamed and flexible and the flame xible and the flame should match that should match that of yourof your back. Remember though, that more flame means the maple will be

back. Remember though, that more flame means the maple will be more difficult to workmore difficult to work with because its structure is

with because its structure is more complicated with some parts denser than more complicated with some parts denser than others. Thisothers. This may prove problematic especially if you have no previous experience in wood bending. So may prove problematic especially if you have no previous experience in wood bending. So if this is your ﬁrst violin, use plainer, less ﬁgured wood.

if this is your ﬁrst violin, use plainer, less ﬁgured wood. Look at the cross sectio

Look at the cross section in Fig. 1n in Fig. 1 . The growth rings should run as paralle. The growth rings should run as parallel to the sides of l to the sides of the ribs as possible, to ensure greatest stability

the ribs as possible, to ensure greatest stability. Also, the height "b" . Also, the height "b" should be suﬃcientshould be suﬃcient for the violin you are building, p

for the violin you are building, plus about 4 mmlus about 4 mm . (36 mm for the Messiah). (36 mm for the Messiah) 2.

2. Decide whether you arDecide whether you are going to make the ribs for the uppee going to make the ribs for the upper and lower bouts in one or twor and lower bouts in one or two pieces and cut

pieces and cut the ribstock accordinglythe ribstock accordingly. See. See Gluing the top and bottom ribsGluing the top and bottom ribs if you don't if you don't know how long the upper and lower bout should be.

know how long the upper and lower bout should be. 3.

3. Fix a jack plane upside down in your vice, carefFix a jack plane upside down in your vice, carefully hold the ribstock in your hands, andully hold the ribstock in your hands, and plane the "a" side of each of the ribs

plane the "a" side of each of the ribs so that its level and straight. Alternatively, you canso that its level and straight. Alternatively, you can use a shooting board for this.

use a shooting board for this. 4.

4. Draw the maximDraw the maximum height "x" um height "x" line parallel to the line parallel to the "a" "a" side you have side you have just planed. This linejust planed. This line denotes the maximum height of the ribs, us

denotes the maximum height of the ribs, usually in the back of the violin, ie. 32 mm ually in the back of the violin, ie. 32 mm ++ add 4 mm

add 4 mm as safety maras safety margin.gin. 5.

5. Cut through the line using a knife and a steel ruler, oCut through the line using a knife and a steel ruler, or use the mounted plane again tor use the mounted plane again to remove material to the line.

remove material to the line.

Thicknessing

1.

1. Now that you have all the ribs trued and cut to the coNow that you have all the ribs trued and cut to the correct height you need to arrect height you need to adjust theirdjust their thickness to

thickness to approxapproximately 1.5 imately 1.5 mmmm .. It is best

It is best to use a rectangle scraper to use a rectangle scraper to remove most of the thickness. Tto remove most of the thickness. To make the surfaceo make the surface even it is advised to use a block plane with a bla

even it is advised to use a block plane with a blade reground for scrapde reground for scraping as in Fig. 2ing as in Fig. 2 .. Blade "a"

Blade "a" is the normal block plane blade, which doesn't work well with the dense, ﬂamedis the normal block plane blade, which doesn't work well with the dense, ﬂamed ribstock. On the other hand the "b"

ribstock. On the other hand the "b" blade, which when reground workblade, which when reground works as a scraper, iss as a scraper, is perfect for the job.

perfect for the job. Y

You can, of ou can, of course, instead of course, instead of the scraping plane, uthe scraping plane, use your regular se your regular scraper, but in that cscraper, but in that casease you will need to

you will need to keep a keener eye on the evenness of the keep a keener eye on the evenness of the thicknessing and the wholethicknessing and the whole process may prove more cumbersome. It all depends on

process may prove more cumbersome. It all depends on the initial thickness of thethe initial thickness of the ribstock.

ribstock.

The thickness and it

The thickness and its even distribution may s even distribution may be checkebe checked with a thicknessing d with a thicknessing caliper or morecaliper or more eﬃciently, the target thickness can be punched into the ribstock using a graduation

efficiently, the target thickness can be punched into the ribstock using a graduation punch. Set the punch to the final thickness and make a network of holes covering the punch. Set the punch to the final thickness and make a network of holes covering the whole ribstock. Working with the plane scraper, when all the

whole ribstock. Working with the plane scraper, when all the holes are gone, you haveholes are gone, you have arrived at the co

arrived at the correct thicknessrrect thickness. See the dots in . See the dots in Fig. 3. Fig. 3. for referencfor reference.e. 2.

2. Clamp the rib down to your workbeClamp the rib down to your workbench and start scraping away frnch and start scraping away from the clamp, as inom the clamp, as in Fig. 3

Fig. 3 . T. To remove wooo remove wood as evenly as possible, tilting the scraper a little mad as evenly as possible, tilting the scraper a little may help, as they help, as the ﬂamed pattern consists of patches of softer and

ﬂamed pattern consists of patches of softer and harder wood.harder wood. 3.

3. As mentioned previouslyAs mentioned previously, during this stage, also employ the scrape, during this stage, also employ the scraper plane to remove anyr plane to remove any unevenness.

unevenness. 4.

4. After yoAfter you have reduceu have reduced the thickness to d the thickness to 1.5 mm1.5 mm , continue re, continue removing material domoving material down to 1.2wn to 1.2 mm

mm .. Again, make suAgain, make sure the thickness is evenly distributed are the thickness is evenly distributed along the whole length of thelong the whole length of the rib.

rib. Category: Category: RibsRibs

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Cutting the C blocks

1.

1. First, takFirst, take a sharp chisel and remove all the wood about 3 mm beyond the projected tips of e a sharp chisel and remove all the wood about 3 mm beyond the projected tips of the corners. See the red dashe

the corners. See the red dashed lines in Fig. 1 d lines in Fig. 1 for the approxfor the approximate position of the cuts.imate position of the cuts. 2.

2. Using a suitable gouge, start paring away tUsing a suitable gouge, start paring away the wood on the upper and lower corhe wood on the upper and lower corner blocksner blocks wher

where the C ribs will bee the C ribs will be, see the con, see the contours in rtours in red, "a, b, c, ded, "a, b, c, d ", in Fig. 1", in Fig. 1 . As in the image. As in the image,, naturally extend the curvature past the tip

naturally extend the curvature past the tip of the cornerblock.of the cornerblock. Make sure the bottom of the block

Make sure the bottom of the block you are working on is resting securely on you are working on is resting securely on youryour workbench and that the only pressure applied is

workbench and that the only pressure applied is to the block itself, to the block itself, otherwise the blockotherwise the block might snap oﬀ as it is only lightly glued.

might snap oﬀ as it is only lightly glued. Make frequent checks of the lines on the

Make frequent checks of the lines on the other side of the other side of the blocks to make sure you`re notblocks to make sure you`re not undercutting.

undercutting. Also, with the help

Also, with the help of a small square, keep checking everything is perfectly perpendicular.of a small square, keep checking everything is perfectly perpendicular. 3.

3. Finish with sanding paper on a stick of suitable diameter, making sure that the point whereFinish with sanding paper on a stick of suitable diameter, making sure that the point where the blocks meets the

the blocks meets the mould make a transition as smooth as mould make a transition as smooth as possible. Run your ﬁnger overpossible. Run your ﬁnger over it to check for smoothness.

it to check for smoothness. 4.

4. Check the contour again by reCheck the contour again by realigning the template with the mould.aligning the template with the mould. Category:

Category: RibsRibs

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Preparing the mould and the ribstock

1.

1. Screw the four screwScrew the four screws in the mould again so that they rise the cors in the mould again so that they rise the corner blocks about 1.5-2ner blocks about 1.5-2 mm

mm above the surface of your workbench. Put the mould on your ﬂat surface and put theabove the surface of your workbench. Put the mould on your ﬂat surface and put the rib stock right next to the corner blocks checking that it overlaps by 2 mm at

rib stock right next to the corner blocks checking that it overlaps by 2 mm at the bottomthe bottom and 2+ mm at the top.

and 2+ mm at the top.

Don`t forget that the height of the ribs is decreasing along the length of the violin body, so Don`t forget that the height of the ribs is decreasing along the length of the violin body, so with a 2 mm overhang at the bottom block, you will get 4 mm at

with a 2 mm overhang at the bottom block, you will get 4 mm at the top block.the top block. 2.

2. Choose the ribstock pieces for the C ribs. DeChoose the ribstock pieces for the C ribs. Decide the orientation of the pieces with rcide the orientation of the pieces with regardegard to the slant of the flames. They usually slope down towards the player on both sides (the to the slant of the flames. They usually slope down towards the player on both sides (the flames on the neck later on should match that). Make sure their surface is perfect, flames on the neck later on should match that). Make sure their surface is perfect, especially on the

especially on the outside, correct with a outside, correct with a scraperscraper.. 3.

3. Prepare the Prepare the clamping blocks usclamping blocks used to hold the C ribs ed to hold the C ribs in place as in Fin place as in Fig. 2ig. 2 . These can be. These can be made of some h

made of some harder wood to arder wood to the dimensions of the dimensions of 110 x 35 x 15 mm110 x 35 x 15 mm . T. Two pieces arwo pieces aree needed. For the exact angles, you can print

needed. For the exact angles, you can print out the Fig. 2.out the Fig. 2.

Bending tips

The temperature

The temperature of the bending irof the bending iron should range betwon should range between 200-250 Celsiuseen 200-250 Celsius . Y. You can get aou can get a thermostatically controlle

thermostatically controlled bending iron, or d bending iron, or you can learn to estimate the you can learn to estimate the temperature bytemperature by moistening your ﬁnger

moistening your finger in the in the water and touching water and touching the iron brieflythe iron briefly. This . This takes experience.takes experience. Also, practice bending on scrap

Also, practice bending on scrap rib stock ﬁrst. You need to learn how much pressure to apply,rib stock ﬁrst. You need to learn how much pressure to apply, how fast to proceed, how the heat in the iron is distributed and what is the best

how fast to proceed, how the heat in the iron is distributed and what is the best temperaturetemperature for the actual wood you are bending. Too little heat and too much pressure and you will break for the actual wood you are bending. Too little heat and too much pressure and you will break the rib. This applies

the rib. This applies especially for highly ﬂamed maple. Tespecially for highly ﬂamed maple. Too much heat, on the oo much heat, on the other hand,other hand, applied for too long will vaporize all the water and you will scorch the rib.

applied for too long will vaporize all the water and you will scorch the rib.

Bending

1.

1. Put a suﬃciently long piece of rib stocPut a suﬃciently long piece of rib stock in water and let soak for a few minuk in water and let soak for a few minutes.tes. 2.

2. Heat up the bending iron and bend the C ribs so that they ﬁt the mHeat up the bending iron and bend the C ribs so that they ﬁt the mould as closely asould as closely as possible. No excessive force should be needed. Y

possible. No excessive force should be needed. You should be left with ou should be left with C ribs that C ribs that have nohave no gaps along the

gaps along their inner side, ir inner side, like in like in Fig. 1Fig. 1 .. When driven home, looking from the side,

When driven home, looking from the side, they should be in they should be in contact with the workbench,contact with the workbench, extending beyond the elevated corner blocks by about *2

extending beyond the elevated corner blocks by about *2 mm*, as mentioned above. Also,mm*, as mentioned above. Also, using a small square, check that they are at right angles to the workbench.

using a small square, check that they are at right angles to the workbench.

Clean the bending iron after each bending with a damp cloth to reduce the staining of the Clean the bending iron after each bending with a damp cloth to reduce the staining of the wood.

wood. 3.

3. Shorten the ends of Shorten the ends of the ribs, if necessarythe ribs, if necessary. They should . They should extend only 3extend only 3-4 mm -4 mm beyond thebeyond the point of the corner block. Make sure they are

point of the corner block. Make sure they are still at right still at right angles.angles. 4.

4. For a test, put on the C clamping bloFor a test, put on the C clamping blocks and make surcks and make sure they sit well, are perpende they sit well, are perpendicular toicular to the surface and that

the surface and that they end up a they end up a couple of millimeters proud of the couple of millimeters proud of the tip of the corner.tip of the corner. When pressure

When pressure is applied they shouis applied they should be "opening" the C ld be "opening" the C rib slightly, see Fig. rib slightly, see Fig. 22 ..

If needed, ﬁle down the ends of the ribs to ensure good contact with the clamping blocks, If needed, ﬁle down the ends of the ribs to ensure good contact with the clamping blocks, and the proper "opening" action.

and the proper "opening" action. 5.

5. Also, the clamps you will be using in the gluing, should be Also, the clamps you will be using in the gluing, should be put on for a tryput on for a try. Only mild force. Only mild force from the clamps should drive the C ribs fully home, closing all gaps. The red arrows in Fig. from the clamps should drive the C ribs fully home, closing all gaps. The red arrows in Fig. 2 show where the action of the clamps should be.

2 show where the action of the clamps should be. 6.

6. If there is any moisture lefIf there is any moisture left on the ribs, let dryt on the ribs, let dry.. 7.

7. If necessary, reapply soIf necessary, reapply soap on the mould, in the vicinity of the blocap on the mould, in the vicinity of the blocks, where it might haveks, where it might have been removed by sanding.

been removed by sanding. 8.

8. Glue in using medium thickness hide glue, putting it on the bloGlue in using medium thickness hide glue, putting it on the blocks onlycks only.. Category:

Category: RibsRibs