Handmade 5-String Fiddle coming along!
Oregon Douglas Fir top plate
There was a famous maker, years ago, (Otto Erdesz, 1917-2000) who often made top plates for violas and violins out of Douglas Fir. Professional players bought and played his instruments, and they are still being played today, although many classical players insist that European spruce is the only “proper wood” for an instrument soundboard. Frankly, I usually would have agreed: all my experience with Douglas Fir seemed to indicate that it would not be a very good choice, even though I have played one of his instruments, and it was excellent. So, until this instrument, I simply didn’t try it.
Early this winter, a friend gave me a load of clean, dry Douglas Fir firewood. I heat with wood, and we had all been told it would be a bad winter (it wasn’t) so I really appreciated the gift. As I split some of it, I noticed that, unlike most Douglas Fir, it had no twist at all, and split easily and cleanly. When I picked up a chunk and tapped it, it gave a very clear, bell-like ring. (Hah! That spells “time to try some fir!”)
So I found one of the few pieces long enough to use, and carefully split it into useable billets, then sawed a center-line to book-match a plate.
I have been using a pattern modeled after the 1735 “Plowden” Guarneri del Gesu, a lot, lately, so I installed blocks in the mold, bent the ribs, and got going!
I had one more piece of “scrap” of Oregon Big Leaf Maple, from the 5-string Double bass I built last year, too, and I was looking forward to making a fiddle out of it. I had already made one 5-string fiddle from scrap from the other side of the bass-back, (sold to a bluegrass fiddle player in Ohio) and it turned out very well, so I was anxious to get the “sister” instrument made.
Back Plate Arching nearly complete:
The neck actually came from a tree on my wife’s parent’s place. I got started on it, as well:
Beginning to cut out the scroll requires a lot of saw-cuts, to outline the actual curl of the scroll, and then to remove the waste wood, using either a saw or a gouge…I used the saw, in this case.
Then I use various gouges and chisels to complete the scroll and the inside of the pegbox.
After the scroll and pegbox are very close to complete, I will prepare and attach the fingerboard and shape the two as a unit. That hasn’t happened, yet, so the handle portion of the neck is still rough and untouched.
Completing the Front Plate
Meanwhile I completed the carving of the front plate, laid out and cut the f-holes and began the purfling. Cutting the purfling slots by hand on Douglas Fir is quite difficult, because the winter reeds are exceedingly hard, compared to the softer summer reeds, and the knife just “pops” over them so that it feels as though it is running over corrugated roofing. It took me much longer to purfle this plate than it usually does for a spruce plate. (Ah, well! Perhaps that is one reason so few use it!) But the tap-tones of this plate are exceptionally strong and clear: I still have high hopes for the power and tone of the resulting instrument.
Garland leveled and Front Plate installed!
(I neglected to get photos of the bass-bar process: it is also Douglas Fir, from the same billet. I will show it after I remove the mold…sorry.)
The graduations for the back plate are nearly complete, but today was a long day, and I will have to finish them tomorrow. So, here is where the progress stands, for tonight:
Tomorrow! (yeah, tomorrow!)
I hope to get the back plate completed tomorrow, except for the purfling, which will wait until after I install the plate. Then I will prepare the fingerboard and get it glued onto the neck, and I will feel as though I am “On the home stretch!” (But it won’t really be true: there still will be a great deal of work left to do, before it is anywhere close to completed.)
Thanks for looking!