🙂 8:10 scoop under E 8:33 scoop under G 8:50 dial indicator jig 9:03 top radius 9:31 deepest part of scoop 10:58 sand sticks, 220gritt 11:43 cotton clothes protect 14:10 sand along, checking both arc & scoop 18:10 cross sanding 220gritt 19:30 sanding with cork support gritt 220 21:00 left & right radius 22:43 cross sanding 400gritt 23:12 final sanding, gritt 600,1200 26:29 nut sizing
Go with peace and funky binniss. You are reborn yet a seventh time; reaching, grasping and yes, scratching an eons old itch. That said; turn. Turn not once to the other’s cheek that you may know all these things moving forward!
Hi Mr Lee, I am happy that you are back making videos and seem well recovered. 👍🏻🙏 Please, could I ask you to add in your list of future videos how to really rehair a bow with Mr Lee perfection technique. Thank you so much!
One more question if you don’t mind: when would you use a block plane for finger boards? At which stages of making / restoring would you reach for your plane instead of your sanding sticks? Thanks a lot :)
Use a block plane when starting from scratch (a totally flat fingerboard) or even for less scooping, but only if it's extremely sharp. A lot of times, it's a matter of taste until the final finish. Thanks!
This is a godsend! Do you offer the paper blueprints on all the violin specifications and the paper string spacing gauge that are shown in your video's?
28:23 sry, but shouldn't that say 22.90? according to the diagrams 3.2 on G side and 3.7mm E side. Is this still a 4/4 size? 28:41 interesting discrepancy with other luthier vids I follow about groove:string radius. David Sora wrote the bigger grove allows easier string sliding for tuning, and I remember something that austrian guy in cremona saying how his intern would groove so perfectly that it would be too tight, so I took that to mean u want things a bit bigger. Thanks for all u do!
This is pure Gold ! ! Thank you for sharing your knowledge and demonstrating your Technique. Your attention to detail is amazing ! ! Video quality superb ! ! Subbed and liked ! !
Огромное спасибо за прекрасное объяснение. Я вытачивал фингерборд из заготовки, а не реставрировал. Но, тем не менее, следовал вашим действиям и советам. Все получилось великолепно. Лучшее видео по этому вопросу. Я много пересмотрел, прежде чем решился. В моем городе нет мастеров и почти скрипачей((
Kevin; Thank you for the amazing and helpful guide to fingerboard renovation! As a violin acoustics researcher I want to add a short tip that might be useful; When you reduce the thickness of the top surface of the fingerboard, it lowers the Fourier tap tone and increases the side tap tone at the same time. By comparing the two taps before starting your fingerboard work, you will probably discover that the two taps are in harmony with each other; and after wards, they will be different. To restore the original acoustical balance, gently sand or scrape the side surfaces of the fingerboard also in a dished pattern, on each side; deeper in the center and less at the two ends; this will raise the top surface back up, until they are in harmony with each other again. {not that it matters, but the ideal Fourier tap tone of the top surface of the fingerboard is 227 1/2 HZ evenly all over (same as the Fourier tap tone of the sides of the bridge), and 242 HZ for the Fourier side tap tone of the two sides of the fingerboard (same as the back plate of Violin). Again; an amazing instructional video.... Thank you... David L.
Very nice and clear explanations, very good sandpaper skills too ! I usually prefer using planes, scraper and sand as little as possible as I find it's easier to lose control and mess up the shape of everything with sandpaper. Also this product you use at the end seems crazy good, would you happen to know what its main components are ? I always spend a lot of time polishing with very high grits, jewelry polish paste but these don't fill up the pores of crappy ebony as well as your product, would love to find something similar. Thank you for your video, I will make sure to watch all the rest. Kind regards
Very Nice Kevin! Your knowledge and expertise is always amazing! So much patience, love and time go into your violin making and care! Thanks for sharing! Best Wishes!
Question: If the Nuy is on there with Hide Glue, can't you soak the hide glue with a bit of water to soften it? I like that dial gauge you rigged up to measure the scoop of the fingerboard. Two Trees is a good book. I enjoyed it.
There are times that water can be used to soften hide glue joints, yet the water can also warp the wood and cause issues with the varnish. Also, once the skill is acquired, look how quick the job is done with no after-effects. Thanks for watching and commenting!
I would cut the 41mm radius out of a block of wood and use it as a sanding block. I would manage the scoop just by focusing more sanding toward the center and only every so often going to either end. That 41mm radius metal measure would also be good to use as a scraper. Edited to mention I see you have had a sanding block like that around 20:00.
Like so many things in violin making; it's the tools and technique as much as the person doing it. I'm just glad that I learned this technique early on.
I have a big question. Will French Polishes/Shellac retouch Varnish Will works over an oil varnished violin? If it doesn't, how do you Polish/retouches an oil varnished violin? What's the difference between an oil varnished violin and a spirit varnished violin?
Yes. Spirit varnishes are the standard for french polishing over oil varnished violins. The "carrier" in oil varnishes is, as the name implies, oil: such as linseed oil. The carrier/solvent in Spirit varnishes is alcohol: sometimes called "spirits." Spirit varnishes dry a lot quicker and they are harder than oil varnishes, so they are used to coat and protect the delicate oil varnish, which is better looking and produces a better sound, underneath.
Thank you so much! It's a long story, yet everything is so much better now. (My life has not been my own this past year or so, and I crushed the bones in my right hand and wrist a few months ago, and am just now able to draw a full bow, etc..) But, please, no sympathy, just tell your friends about the videos that you like, and I will keep making them!
@@kevinleeluthier no worries mate I don't give sympathy to myself or others. It just keeps you stuck. Thanks for the little update I do appreciate knowing
Where does the diagram shown at 25:51 come from.. I’ve looked all over your website and can’t find any reference to it.. I’d buy the book if that’s a pg out of it. I’m also probably going to buy your other books to lol
Hi Kevin, thanks for the video and thanks for sharing. I have a question, regarding the soldering machine you use, could you please advise what is the brand and how did you get it done to the 1 inch size, thanks!
Are you referring to my Soldering Iron that I use for bending ribs? If so: I purchased it at a swap meet about 40 years ago. It has no markings on it. Many of these were made in the 1920s-1960s and are still at swap meets and ebay though always look for a solid head model (not one with sheet metal on the 1" diameter). If all else fails, you would have to, or have a machine shop, make one out of steel and a heat cartridge. I use a normal light dimmer to control the amount of electricity/heat.
Hello, just reading through the comments. What you're looking for is a ''heavy-duty soldering Iron"" it's going to probably end up in the 300 to 500-watt range. they're generally used for soldering copper sheeting and tinsmith work. Ebay vintage heavy-duty soldering iron. etc...they ain't cheap new, 200-300$, I would try to stay in the 300-watt range and get a 7/8 inch, with higher wattage it's going to be much too hot. hope this helps.
Sometimes/very often yes. Especially if the bridge was cut high in order to compensate for a humped fingerboard. Regardless, this is a good time to double check the string height / bridge height. = Yes, I should have mentioned that. Thanks!
Loved the video, and I really like how you explain and speak. I'm a violinist but i'll never do any repairs to my own violin, just watching for pure curiosity and plesaure. Thank you!
Thank you for this.... fixing a cello. All the simple little things ... a lot of it was obvious. The paint recommendation is the key. Internet is hopeless about it. And books on building instruments I could find are not even from this century... I am concerned as to why fingerboards are made from regular wood - not even ebony now ... nevermind modern materials which would withstand the wear and tear. I want to build modern instruments one day ...
Very few know that Stradivarius made most of his fingerboards out of maple and then laminated ebony and other hard woods to the top surface. :) Like everything else on a fine violin, fingerboards do affect the tone and I am quite partial to fine ebony.
Thank you, and thank you for suffering through the shaking to see the content. I think I finally have it figured out, and there will be a lot less shaking from now on.
The "glassy" appearance is from the ultra-fine sandpaper. The black stain is Minwax Wood Finish, Ebony 2718. I just added the link to the description under the video.
How often does the fingerboard of a violin need to be reshaped? My local violin shop redressed my fingerboard less than 5 years ago and recently said it was fin. But when I wanted to use my violin as a trade-in, they suddenly said my fingerboard needs $200 worth of reshaping. Is that reasonable? Fingerboards are ebony. With normal playing, fingers pressing down / vibrato etc..... does the fingerboard really need to be reshaped every 5 years?
It depends upon how much, and how aggressively you play. An "aggressive" concert violinist can wear out the surface of the finest fingerboard in a year and then need to replace the fingerboard every 3-4 years. I've also seen fingerboards played upon sweetly for an entire lifetime. At the same time I've seen low quality ebony (it isn't all the same, far from it) worn out in a few months. $200 is plenty for resurfacing a violin fingerboard unless you play upon a fine instrument, then $200 is rather reasonable.
Kevin - eliminating the mystique/hype factor of old instruments, with sound and playability as the sole criteria, do you think any experienced, expert violin maker can build an instrument that's as good as those of the old masters of Cremona?
Dear Mu Zician (great name, by the way) Put simply, "Yes." If that violin maker has very fine, fully-cured tone wood, if they know the "secrets" of the masters (there really are some), if they have quality tools and a high level of skill. Absolutely.
@@muzician338 So very very true. They were visionaries, and devoted their entire lives to their musical instruments so that our lives could be better. Thank you so much for your comments.
@@kevinleeluthier Btw - I took a look at your Facebook page, you come across as such a staid and cerebral individual but I'm sure there are Hollywood stuntmen who haven't suffered the injuries you have - a minor miracle you're still around! I'm glad you're still here to share your knowledge and enthusiasm for the violin! Best wishes to you and your wife.
@@muzician338 Thank you so much. My mother had a major stroke this last year (she's 90) and you can now add crushing most of the bones in my right hand keeping her farm going. Sadly COVID made it all but impossible to hire anyone, and I was working way too many hours. But it's almost livable now and I'm ready to do more videos!
I don`t like the nut diagram (bottom right ) with the groove width being slightly less the the string diameter . Gut strings don`t like anything tight . Otherwise the curved groove is excellent . Lovely finish to the demonstration .
Strobel in his writings gives a depth of 0.5-0.7. This is also a lot. optimally 0.35-0.55. over time, the neck in some cases bends under the tension of the strings. You have a very beautiful job, but unfortunately these are too large depth parameters.
Thanks, very fine! Funny, the holes seem to come not from the pressure of the string under the finger but rather from the fingernails rubbing beside the string!
We must be saying the same thing in two different ways, because the G string swings wider and definitely requires more clearance = there needs to be more scoop in the fingerboard (is this what you mean by lower?), and in addition to that, the G string is held higher above the fingerboard at both the nut and the bridge ends. Thanks for watching!
Hello! How fabulous! Loved every second of your fine work!!
I enjoy every second doing it! :)
Thanks for watching!
🙂
8:10 scoop under E
8:33 scoop under G
8:50 dial indicator jig
9:03 top radius
9:31 deepest part of scoop
10:58 sand sticks, 220gritt
11:43 cotton clothes protect
14:10 sand along, checking both arc & scoop
18:10 cross sanding 220gritt
19:30 sanding with cork support gritt 220
21:00 left & right radius
22:43 cross sanding 400gritt
23:12 final sanding, gritt 600,1200
26:29 nut sizing
thank you a lot
it was amazing
Serenity. If perfection by man is done to Gods glory, this video shows just that.
Go with peace and funky binniss. You are reborn yet a seventh time; reaching, grasping and yes, scratching an eons old itch. That said; turn. Turn not once to the other’s cheek that you may know all these things moving forward!
I can’t believe it’s taken me until now to find this channel! Wonderfully done and well explained. Thanks!
Don't forget that there are a lot of other topics on my channel. :)
@@kevinleeluthier I’m cooking your touch up varnish recipe tomorrow!! I’ve done a deep dive :)
Welcome into the rabbit hole!
Oh wow. What a surprise!! Welcome back Kevin!! 👍✌️
At long last, you are thankfully back.
It's good to be back! Thank you so much.
Yes! You're back Kevin!
Thank you so much. I has missed sharing the world I live in with others.
Hi Mr Lee, I am happy that you are back making videos and seem well recovered. 👍🏻🙏
Please, could I ask you to add in your list of future videos how to really rehair a bow with Mr Lee perfection technique. Thank you so much!
It's on my to-do list, as well as videos on re-cambering, re-gripping, re-wrapping, re-tipping, etc.Thank you so much for watching!
@@kevinleeluthier Thank YOU for share your history and knowledge to inspire and teach us!
@@kevinleeluthier I hope you are ok. It's been a while since you post the last video. 🙏
So nice to see you again!!
It's nice to be back. It's been a long year, and my life has not been my own. = I'll explain later. It's a long story.
Thank you so much, you are my best musical teacher
Thank goodness your back. Thanks for sharing. Your videos are super high quality content!
Thank you so much. They do take a LONG time to make, and it's amazing how awkward it is working through a camera!
Thank you Kevin Lee for the masterfully done lesson!
Flawless work! what a treat to watch, true luthier. I would love to see more of your videos in the future, a true joy to watch a fellow luthier.
Also, that violin is seriously beautiful. Can we know a little bit more about it?
One more question if you don’t mind: when would you use a block plane for finger boards? At which stages of making / restoring would you reach for your plane instead of your sanding sticks? Thanks a lot :)
Use a block plane when starting from scratch (a totally flat fingerboard) or even for less scooping, but only if it's extremely sharp. A lot of times, it's a matter of taste until the final finish.
Thanks!
glad to see you posting again. I love your videos.
Amazing craftsmanship! I feel lucky to witness such high-level expertise. Thanks a lot!
This is a godsend! Do you offer the paper blueprints on all the violin specifications and the paper string spacing gauge that are shown in your video's?
28:23 sry, but shouldn't that say 22.90? according to the diagrams 3.2 on G side and 3.7mm E side. Is this still a 4/4 size?
28:41 interesting discrepancy with other luthier vids I follow about groove:string radius. David Sora wrote the bigger grove allows easier string sliding for tuning, and I remember something that austrian guy in cremona saying how his intern would groove so perfectly that it would be too tight, so I took that to mean u want things a bit bigger.
Thanks for all u do!
Merci beaucoup pour cette explication magistrale particulièrement claire et bravo pour la splendide restauration. C'est passionnant.
Thank you.
Je vous en prie
I love seeing a well used instrument, and I'm very glad to see a new upload from you.
This is pure Gold ! ! Thank you for sharing your knowledge and demonstrating your Technique.
Your attention to detail is amazing ! !
Video quality superb ! !
Subbed and liked ! !
awesome detail in your descriptions, very very helpful
So happy you are back!
Thank-you! Your videos are the BEST! 🙂
Огромное спасибо за прекрасное объяснение. Я вытачивал фингерборд из заготовки, а не реставрировал. Но, тем не менее, следовал вашим действиям и советам. Все получилось великолепно. Лучшее видео по этому вопросу. Я много пересмотрел, прежде чем решился. В моем городе нет мастеров и почти скрипачей((
Happy new year for you and your family! Glad to see that you are back after all these months. Keep up the good work!
Now that is beautifully done. Great videos and it is great to see new ones.
Greetings from Türkiye. What an amazing job. Let me congratulate you maestro! ❤
Kevin; Thank you for the amazing and helpful guide to fingerboard renovation! As a violin acoustics researcher I want to add a short tip that might be useful; When you reduce the thickness of the top surface of the fingerboard, it lowers the Fourier tap tone and increases the side tap tone at the same time. By comparing the two taps before starting your fingerboard work, you will probably discover that the two taps are in harmony with each other; and after wards, they will be different. To restore the original acoustical balance, gently sand or scrape the side surfaces of the fingerboard also in a dished pattern, on each side; deeper in the center and less at the two ends; this will raise the top surface back up, until they are in harmony with each other again.
{not that it matters, but the ideal Fourier tap tone of the top surface of the fingerboard is 227 1/2 HZ evenly all over (same as the Fourier tap tone of the sides of the bridge), and 242 HZ for the Fourier side tap tone of the two sides of the fingerboard (same as the back plate of Violin).
Again; an amazing instructional video.... Thank you... David L.
Thank you for this excellent video. Very helpful, accurate and well explained.
Very nice and clear explanations, very good sandpaper skills too ! I usually prefer using planes, scraper and sand as little as possible as I find it's easier to lose control and mess up the shape of everything with sandpaper.
Also this product you use at the end seems crazy good, would you happen to know what its main components are ? I always spend a lot of time polishing with very high grits, jewelry polish paste but these don't fill up the pores of crappy ebony as well as your product, would love to find something similar.
Thank you for your video, I will make sure to watch all the rest.
Kind regards
A master video by a master violin luthier! Excellent camera work, as well.
Kevin. So good to see you back online. Excellent video. The violin is beautiful. What is it?
Very Nice Kevin! Your knowledge and expertise is always amazing! So much patience, love and time go into your violin making and care! Thanks for sharing! Best Wishes!
Thank you so much! I'm in the middle of my next violin and making my first music video right now!
You have inspired me to take up violin playing. I thank you
Very good information.
Question:
If the Nuy is on there with Hide Glue, can't you soak the hide glue with a bit of water to soften it?
I like that dial gauge you rigged up to measure the scoop of the fingerboard.
Two Trees is a good book. I enjoyed it.
There are times that water can be used to soften hide glue joints, yet the water can also warp the wood and cause issues with the varnish. Also, once the skill is acquired, look how quick the job is done with no after-effects. Thanks for watching and commenting!
Oh a new video! And a lovely one as always! Thanks sir!
I would cut the 41mm radius out of a block of wood and use it as a sanding block. I would manage the scoop just by focusing more sanding toward the center and only every so often going to either end. That 41mm radius metal measure would also be good to use as a scraper.
Edited to mention I see you have had a sanding block like that around 20:00.
Amazing! Thank you for sharing. God bless
Wow! Long time no see. Miss your video.
As long as things keep going the way they are, I'll finally be doing a lot of them!
Another fantastic video.
Excellent video
I love your work. Super inspiring.
hey!!, its kevin wow
i have never seen any one doi that job any where near that well
Like so many things in violin making; it's the tools and technique as much as the person doing it. I'm just glad that I learned this technique early on.
I have a big question. Will French Polishes/Shellac retouch Varnish Will works over an oil varnished violin? If it doesn't, how do you Polish/retouches an oil varnished violin? What's the difference between an oil varnished violin and a spirit varnished violin?
Yes. Spirit varnishes are the standard for french polishing over oil varnished violins.
The "carrier" in oil varnishes is, as the name implies, oil: such as linseed oil.
The carrier/solvent in Spirit varnishes is alcohol: sometimes called "spirits."
Spirit varnishes dry a lot quicker and they are harder than oil varnishes, so they are used to coat and protect the delicate oil varnish, which is better looking and produces a better sound, underneath.
Very methodical approach. Very cool. Are the nut burnishers rounded freehand?
Very interesting! Thank you so much!
Surprise. How are you Kevin good tou have a video from you again.
we miss you
Thank you so much! It's a long story, yet everything is so much better now. (My life has not been my own this past year or so, and I crushed the bones in my right hand and wrist a few months ago, and am just now able to draw a full bow, etc..)
But, please, no sympathy, just tell your friends about the videos that you like, and I will keep making them!
@@kevinleeluthier no worries mate I don't give sympathy to myself or others. It just keeps you stuck. Thanks for the little update I do appreciate knowing
Where does the diagram shown at 25:51 come from.. I’ve looked all over your website and can’t find any reference to it.. I’d buy the book if that’s a pg out of it. I’m also probably going to buy your other books to lol
Did you ever make the, "How to make a fingerboard" video? I have to learn how to plane a fingerboard at my job and it would be really helpful.
Hi Kevin, thanks for the video and thanks for sharing. I have a question, regarding the soldering machine you use, could you please advise what is the brand and how did you get it done to the 1 inch size, thanks!
Are you referring to my Soldering Iron that I use for bending ribs? If so: I purchased it at a swap meet about 40 years ago. It has no markings on it. Many of these were made in the 1920s-1960s and are still at swap meets and ebay though always look for a solid head model (not one with sheet metal on the 1" diameter). If all else fails, you would have to, or have a machine shop, make one out of steel and a heat cartridge. I use a normal light dimmer to control the amount of electricity/heat.
Hello, just reading through the comments. What you're looking for is a ''heavy-duty soldering Iron"" it's going to probably end up in the 300 to 500-watt range. they're generally used for soldering copper sheeting and tinsmith work. Ebay vintage heavy-duty soldering iron. etc...they ain't cheap new, 200-300$, I would try to stay in the 300-watt range and get a 7/8 inch, with higher wattage it's going to be much too hot. hope this helps.
May I ask, do you need to adjust the height of the bridge after resurfacing the fingerboard? Thanks you!
Sometimes/very often yes. Especially if the bridge was cut high in order to compensate for a humped fingerboard.
Regardless, this is a good time to double check the string height / bridge height. = Yes, I should have mentioned that. Thanks!
you sir, are a spirited man.
Thank you for your help!
Loved the video, and I really like how you explain and speak. I'm a violinist but i'll never do any repairs to my own violin, just watching for pure curiosity and plesaure. Thank you!
Thank you for this....
fixing a cello. All the simple little things ... a lot of it was obvious.
The paint recommendation is the key. Internet is hopeless about it. And books on building instruments I could find are not even from this century...
I am concerned as to why fingerboards are made from regular wood - not even ebony now ... nevermind modern materials which would withstand the wear and tear.
I want to build modern instruments one day ...
Very few know that Stradivarius made most of his fingerboards out of maple and then laminated ebony and other hard woods to the top surface. :)
Like everything else on a fine violin, fingerboards do affect the tone and I am quite partial to fine ebony.
Great content, Thanks and Cheers 🎻
Thank you, and thank you for suffering through the shaking to see the content. I think I finally have it figured out, and there will be a lot less shaking from now on.
Very nice
What are you using to finish the fingerboard that gives it that beautiful glassy appearance??
The "glassy" appearance is from the ultra-fine sandpaper. The black stain is Minwax Wood Finish, Ebony 2718. I just added the link to the description under the video.
@@kevinleeluthier Thank you!!!
AWESOME AWESOME AWESOME!!!!👍🏼👍🏼👍🏼👍🏼👍🏼
I ask myself how a luthier of your expertise would approach the task of scalloping an electric guitar fretboard.
What is your favourite water to glue pellets weight ratio for optimum glueing while maintaining repairability?
A question. What is your go to cleaner for rosin buildup?
As mentioned in my "how to really clean and polish a fine violin" it's Joha (expensive and hard to find, but there should be a link there.
That’s true mastery!
How often does the fingerboard of a violin need to be reshaped?
My local violin shop redressed my fingerboard less than 5 years ago and recently said it was fin. But when I wanted to use my violin as a trade-in, they suddenly said my fingerboard needs $200 worth of reshaping. Is that reasonable? Fingerboards are ebony. With normal playing, fingers pressing down / vibrato etc..... does the fingerboard really need to be reshaped every 5 years?
It depends upon how much, and how aggressively you play. An "aggressive" concert violinist can wear out the surface of the finest fingerboard in a year and then need to replace the fingerboard every 3-4 years. I've also seen fingerboards played upon sweetly for an entire lifetime. At the same time I've seen low quality ebony (it isn't all the same, far from it) worn out in a few months.
$200 is plenty for resurfacing a violin fingerboard unless you play upon a fine instrument, then $200 is rather reasonable.
@@kevinleeluthier thanks for your insights. but the fingerboard is ebony, not marshmallow. How can it wear out that fast with average normal play?
Kevin - eliminating the mystique/hype factor of old instruments, with sound and playability as the sole criteria, do you think any experienced, expert violin maker can build an instrument that's as good as those of the old masters of Cremona?
Dear Mu Zician (great name, by the way)
Put simply, "Yes."
If that violin maker has very fine, fully-cured tone wood, if they know the "secrets" of the masters (there really are some), if they have quality tools and a high level of skill. Absolutely.
@@kevinleeluthier Thanks - I of course give grateful credit to the makers of old for figuring it all out.
@@muzician338 So very very true. They were visionaries, and devoted their entire lives to their musical instruments so that our lives could be better. Thank you so much for your comments.
@@kevinleeluthier Btw - I took a look at your Facebook page, you come across as such a staid and cerebral individual but I'm sure there are Hollywood stuntmen who haven't suffered the injuries you have - a minor miracle you're still around! I'm glad you're still here to share your knowledge and enthusiasm for the violin! Best wishes to you and your wife.
@@muzician338 Thank you so much. My mother had a major stroke this last year (she's 90) and you can now add crushing most of the bones in my right hand keeping her farm going. Sadly COVID made it all but impossible to hire anyone, and I was working way too many hours. But it's almost livable now and I'm ready to do more videos!
Because you don't post very often is why I don't see your vlog come up very often.
Wow!
I take it Kevin the fingerboard was not ebony?, hence you painting it at the end., otherwise no need to blacken it I take it?
It is indeed ebony, and among the finest, yet even the finest ebony gets an ebony dust polish like this to help highlight the color of the varnish.
I don`t like the nut diagram (bottom right ) with the groove width being slightly less the the string diameter . Gut strings don`t like anything tight . Otherwise the curved groove is excellent . Lovely finish to the demonstration .
Nobody else knows how to REALLY do this? LOL! Your Special!
Strobel in his writings gives a depth of 0.5-0.7. This is also a lot. optimally 0.35-0.55. over time, the neck in some cases bends under the tension of the strings. You have a very beautiful job, but unfortunately these are too large depth parameters.
My my
What I don’t understand is why it’s called “thicknessing” when what luthiers are actually doing is thinning the fingerboard.
With terms like thicknessing, think of it as taking something to its proper "thickness."
Maestro, I desperately need your expert advice regarding my 1857 Guarneri JB Vuillaume violin. How can you be reached on FB messenger?
❤❤❤❤❤❤❤❤
Thanks, very fine! Funny, the holes seem to come not from the pressure of the string under the finger but rather from the fingernails rubbing beside the string!
1 year ago & same applies. ✝S.S.@03/27/2023.
😁
🌞🎅🏻🎉
That's it,...
totally wrong, the side of the G string is lower than the E string....
We must be saying the same thing in two different ways, because the G string swings wider and definitely requires more clearance = there needs to be more scoop in the fingerboard (is this what you mean by lower?), and in addition to that, the G string is held higher above the fingerboard at both the nut and the bridge ends. Thanks for watching!