The first thing to be done here is thicknessing the top. What will be the total height of the plate at it’s highest point? A plane is used here to make this thickness.
The back was selected to carve first. Since the maple is harder than the top, I like to get this part done first.
After the back is completely scraped, the inside carving begins.
Final edge margins are tweeked with a knife and later a file.
Flattening my edges.
Plate thicknessing and the tuning process begins.
This is the first run of the plate tuning. The shape shown here represents a good pattern for this back plate.
Before the purfling channel groove is started, proper edge thicknessing and final outlines must be done. A flat file is being used here to flatten the edges.
Another view of the plate tuning of ths back.
Here the “bee sting” is shown on the top corner. These are done after the “c” bout purfling is fitted and dried.
The purfling groove is completed on the entire top.
Purfling channel cutting.
Once the linings are dried and all in place, the edges must be marked with a pencil line and the purfling channel is carefully cut.
Final scrapping is done to complete the final archings.
After the channels are rough carved, a scrapper is used to smooth everything out.
Gouging begins on the inside of the top.
Special carving tools and a good eye are needed to creat a well arched instrument.
Inside top roughing-in.
Scrapping the inside ktop plate. Approaching final tuning.
After the bulk of the wood is removed on the inside and thicknesses are close, a scrapper is used to complete the final thicknessing.
Top is tuned prior to the ff’s being cut. A combination of tap and machine tuning is used.
After the ff holes are completed, the bass bar is marked and fitted. Chalk is used to assure constant contact between the bar and the top.
Lower bout showing bass bar fitting.
The bass bar is glued and clamped in place.
Another clamping angle.
Now the bass bar is tuned to desired pitch.
The back arching is beginning to take shape.
The top carving approaching final contours.
Once the back is properly arched and scraped, the edges need to be flattened using a flat file.
The top is now placed on to the mold and the outline is checked for final fit.
Here we go. The shape of the top begins. Care must be taken here to arch the instrument properlt. Patterns are used to assure proper archings.
Carving away everything that’s not a violin.
After final outline adjustments are made, a purfling tool is used to mark the purfling grove.
Roughing in with a gouge.
The final purfling channel cleaned and ready for the purfling.
Once the groove is marked, a sharp knife is used to cut the groove and corners are cut-in.
Approaching final archings. Use a strong “hard” light with overhead lights turned off to follow your progress.
Here’s a shot of the installed purfling. Notice the “bee sting” corners.
Another shot of the finished purfling at the neck root.
Here the back is temporarily “spot-glued” to maintain rib alignment so the mold can be removed. The ribs are first sanded flat to assure a good glue joint.
11 West Main Street
Mechanicsburg, Pa 17055
Tue. thru Fri: 11am – 5pm
Saturday: Noon until 3pm
Other hours by appointment
call: 717. 697. 6341