I wish I could have found an apprenticeship. All the luthiers in my area never let anyone in since there is a violin making school nearby... at a cost of $40,000 a year!
Interesting discussion around bevels on the purfling channel cutters. I have one of the same cheap cutters from Yinfente. When I first tried it, it was on the back of violin #1 that I'm working on, and I left both cutters in place, sharpened to a pin shape, which is how they come. It worked pretty well in terms of moving across grain lines without dragging, producing channels that wobbled a bit, but not too badly. I chalked it off to inexperience. I had a lot more difficulty at first on the spruce plate, with its hard winter reeds and the softer summer reeds. I switched tactics quickly, deciding to sharpen one of the pins into a V-shaped cutter, although it was single beveled with a flat back. That didn't work much better. Now with Thibault saying that he uses double bevel blades for marking his channels, I'm wondering if that approach might work better for me next time. Seems like it ought to be more stable.
I used two cutters for the first 30 or so violins. Not only is it half the work to physically cut one line rather than two, it's also half the work to control it. Another approach is to only use the guage as a marking guage then move over to using a knife.
@@grahamvincentviolins Right. On my maple plate, I used the sharpened pins, both at the same time, as marking gauges and then went straight to knife work. Maybe that could account for the wobble, as I wasn't using the best knife for the job. Just an X-Acto blade. Maybe I'll try the single blade approach next time to actually CUT the channels to get started, then switching to the knife, rather than merely scribing the channel and doing all the real work with a knife.
No, Thibault is following my method fairly closely and is using locating pins. These ensure the plates are located in a stable position for marking, so I don't use glue at that stage.
Loving the updates :-)
Keep going with the oak. Its the future lol.
I wish I could have found an apprenticeship. All the luthiers in my area never let anyone in since there is a violin making school nearby... at a cost of $40,000 a year!
$40,000 is a gate that's going to keep most people out!!
I am going to try this on a (baroque) fingerboard soon. I am waiting for the tools I ordered. This video will be a great help.
Thanks!
What do you use the hourglass for?
And where the heck are the mics?
Interesting discussion around bevels on the purfling channel cutters. I have one of the same cheap cutters from Yinfente. When I first tried it, it was on the back of violin #1 that I'm working on, and I left both cutters in place, sharpened to a pin shape, which is how they come. It worked pretty well in terms of moving across grain lines without dragging, producing channels that wobbled a bit, but not too badly. I chalked it off to inexperience.
I had a lot more difficulty at first on the spruce plate, with its hard winter reeds and the softer summer reeds. I switched tactics quickly, deciding to sharpen one of the pins into a V-shaped cutter, although it was single beveled with a flat back. That didn't work much better. Now with Thibault saying that he uses double bevel blades for marking his channels, I'm wondering if that approach might work better for me next time. Seems like it ought to be more stable.
I used two cutters for the first 30 or so violins. Not only is it half the work to physically cut one line rather than two, it's also half the work to control it. Another approach is to only use the guage as a marking guage then move over to using a knife.
@@grahamvincentviolins Right. On my maple plate, I used the sharpened pins, both at the same time, as marking gauges and then went straight to knife work. Maybe that could account for the wobble, as I wasn't using the best knife for the job. Just an X-Acto blade. Maybe I'll try the single blade approach next time to actually CUT the channels to get started, then switching to the knife, rather than merely scribing the channel and doing all the real work with a knife.
Hi just curious how many violins Tibo has made so far.
I'll ask him to talk about it next video!
are you temporarily gluing top and back to ribs to refine outline before doing purling channel?
No, Thibault is following my method fairly closely and is using locating pins. These ensure the plates are located in a stable position for marking, so I don't use glue at that stage.