The last two commissions were a five-string on the original Oliver Pattern and a five-string on the slightly-wider Guarneri pattern. Both sounded great, and both customers are very happy. So that left me wondering which one to do next. The obvious answer: Both!
I’m trying a new neck and scroll design on the Guarneri model. I hope it works well, as I really like the graceful look.
The instrument on the left (modeled after the 1735 “Plowden” Guarneri, with modifications to acommodate five strings) is left-over Oregon Big Leaf maple from building a five-string double bass, last year (same as the Andy Pastor commission fiddle.)
The scroll, also Oregon Big Leaf Maple, is from a tree on the property where my wife grew up, as are the ribs. The back is from a tree on the next ridge of hills west: about ten miles by road, probably three miles in direct line-of-flight. (Same one from which the recent double bass was taken, as well as several other instruments I have made. The late Terry Howell, of Howell Tree Farm, gave me the entire log, so I have a good supply.)
I also decided to try an experiment: This will be the first time I have attempted a 5-string bluegrass fiddle with a belly of Douglas Fir, as opposed to Spruce. Otto Erdesz was famous for using it successfully in many of his instruments, so, when a friend gave me some very straight, split Douglas Fir, I decided to make the attempt, on the Guarneri model. It is quite dense compared to spruce, but it rings like a bell, when I tap it with my finger, so I think it will be good.
The back, ribs and scroll on the right-hand instrument above (the Oliver-model) are all from the tree on my Mother- and Father-in-law’s property. The belly, as usual, is Sitka Spruce.
So, that is where things stand, today:
Slow Start due to Repairs and other Responsibilities
This has been a slow start: 2021 saw me needing to repair my ancient bandsaw, and my drill press had succumbed to the misguided attention of a marauding mouse. (The little wretch had crawled up through the ventilation holes of the electric motor and chewed off all the insulation from about 4″ of wire!)
The bandsaw required disassembly and drilling out a worn, threaded hole, and retapping for a helicoil. The machine will probably outlast me, now.
The drill press motor had to be taken apart and a new wire soldered in place. (A friend did that one for me. I really lack confidence when it comes to electric motor repair.) Fortunately, the damage was limited to just that one wire. (Maybe the plastic insulation gave the mouse a belly-ache.)
At any rate, I now have both machines running again, and I was able to saw out the profiles for the remaining plates as well as drilling the pilot holes in each scroll.
I should be able to get more done, now. (Gotta prune the apple-trees, too… Spring is on the way!)
Back in December, I received a commission for a new 5-string “Bluegrass” fiddle. It was to be made on the same form as one of my earlier instruments but have a two-piece, straight-grained Sitka spruce top and a very wild-grained Oregon Big Leaf maple back, sides and neck. The customer specifically requested Ipe for the Fingerboard, saddle and nut. Ipe is extremely hard, dense wood, but not threatened or scarce, as ebony is becoming. It has an odd color when under the knife, and leaves a bright yellow dust when it is scraped or sawn, but it finishes to a nice dark brown and darkens further with age.
Wild Grain Makes for Tough Carving
The last time I posted, I was just beginning the back plate arching. It was tough carving, as it is extremely “wild” flame, and the Big Leaf Maple grain is anything but straight. The result, of course, is some very beautiful wood. But it is hard work, regardless. The blades must be kept razor-sharp, and cuts must be kept shallow in depth.
The purfling requested was not only double purfling (favored by a few of the early masters, especially those of Brescia) but was to include a purfling weave, as well, in the form of a modified “fleur-de-lis.” This is a design I came up with on my first five-string fiddle, and have continued to use, in a variety of forms, ever since.
I like the look of the double-purfling and the weave, but it is pretty hard on my hands, as I still do all my purfling inlays by hand. I know a lot of makers use a Dremel-tool, or something similar. Perhaps I eventually will succumb to that “new-fangled” tool as well.
At any rate, here is the back plate, with the purfling complete:
Closing up the “Corpus”
I closed up the corpus a few nights ago: all that is left to do before varnishing is to complete the final carving of the neck heel, and all the final edgework, so that the wood is “varnish-ready.”
I will show one more progress report during the varnishing process, and the last for set-up and playing.
Before I could prepare the back plate of this five-string fiddle, I had to complete the rest of the corpus (body of the violin:) First, the inside willow blocks and willow linings had to be tapered and shaped so they are completely smooth. Then, the back of the entire corpus (including the heel of the neck) has to be leveled, so that it will lie flat on the back plate. So, here is the main part of the 5-string violin, with the interior clean and smooth, and the back leveled and flat:
Beginning the Back Plate
I clamped the corpus flat on the back plate billet, then traced around the ribs, using a small washer to establish the correct rib overhang. Then I corrected the corners, using a straightedge and a series of circle patterns. Finally, I cut out the plate “footprint”, and began the arching process. Oregon Big Leaf Maple is a relatively soft maple, but it is still a good deal harder and tougher than Sitka spruce, so the back plate is a lot more work to carve. Here is the beginning:
In the above photo, the back plate is sitting in a work cradle, so that it will stay in place while I carve it. The Ibex plane in the photo has been slightly modified, to add the palm-fitting handle. This reduces the stress on my fingers and transfers the force to the palm of my hand as opposed to my thumb and forefinger. (To Ibex plane-owners: you will observe that I have removed the adjusting screw and reinstalled it upside down to allow insertion of the maple handle.)
I have been on vacation for two weeks, which has allowed me to accomplish more work than usual, in a shorter period of time. I go back to my regular job, on Monday, though, so things are about to slow to a crawl. (Sorry…that’s life. :-))