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The Woodworking Blogs Aggregator
This is a collection of all the different blogs I (try to) read. A whole bunch! If you have any comments or suggestions feel free to use the CONTACT page to get a hold of me. Thanks!
Down to scrapers on the back, cleaning up the arching, trying to blend in the channel around the edge, containing the purfling. Lots of changes in grain direction to pay attention to.
Lasers used to be very exotic, but I bought one in a hardware store, used for leveling ceiling tile installation, among other things. Pretty simple, and not sophisticated. But it is another tool one can use to find the never-ending supply of bumps and distortions in ones arching.
Most musicians I admire understand music theory. They may understand music theory intuitively or they may have formally studied the theory of music but either way they know what is going on. These musicians may or may not be able to articulate what the are doing or thinking musically but they can tell if a note sounds right or wrong, hear underlying rhythmic, harmonic and melodic patterns, and have the ability to express themselves with a large pallet of musical colors to choose from.
In current dulcimer culture there are a relatively small number of players who embrace the idea that the mountain dulcimer has strings and frets that produce notes; a majority of players think of strings and frets as lines and numbers on the tablature they play from.
Tablature offers quick gratification; you tune the dulcimer, put your fingers where the paper tells you, and music comes out of the dulcimer. This is a valid approach to playing the dulcimer enjoyed by many players.
If a dulcimer player prefers to have a broader understanding of why the tablature tells you to put your fingers in certain places they will need to learn the theory and structure behind the arrangement. Once this structure is understood the dulcimer player can generalize the information and begin to see and hear coherent patterns in other tunes they play. This in turn makes learning to play by ear much simpler; music becomes rhythmic, melodic, and harmonic (harmony, chords) patterns rather than appearing to be a random assemblage of rhythm and pitch.
In 40 years of teaching dulcimer very few students have wanted to take this plunge. When teaching classes on how music theory applies to the dulcimer usually half the people in the room have said they didn’t learn anything. In this context “not learning anything” usually means they didn’t leave the class with tablature and a new song under their belt. About a quarter of the people usually say they got some interesting ideas from the class. The last quarter usually get excited and say they finally understand how the dulcimer works as an instrument and they have ideas on how their playing can grow beyond current limits.
There is no right or wrong way of playing the dulcimer. If you want to play from tablature and feel musically fulfilled then there is no need to go further. If you want a better understanding of how music works, if you want to learn melodies by ear and would like to know what chords will work with a particular melody and want to be able to converse with other musicians about musical ideas then getting a basic grasp on music theory will open many doors for you.
My only formal training in music theory took place during my first year of high school. Compared to many musicians my knowledge of music theory is fairly basic. Still, this knowledge was enough to enable me to learn to play the dulcimer and hammered dulcimer. I was able to learn and understand how dulcimers worked as musical instruments and find my way around them.
There are many books available on basic music theory and I link to one available on line for free to help you get started.
Sometimes, one gets the feeling that there is more to be had with a particular instrument. I finished this one this past February. It was an experiment, in that I left the plates fairly thick, trying to follow the graduation pattern of the Paganini violin, Guarneri del Gesu's "Cannone" of 1743. For example, the center of the back was about 6 mm thick. More typical is the 4 to 4.5 range, and some are thinner than that.
I played it for a few months, not completely happy with it, though I am one of those who never is quite happy with a fiddle, so I try not to be hasty, but give a fiddle some time to develop.
But, in playing it, I felt there was more sound quality to be had. This past June, I pulled the top and took a little thickness off the top. It wasn't as thick as I remembered, so the modification was minor. Put it back together and continued playing it. Certainly an improvement.
I played this fiddle for several tunes two Saturdays ago, at the Boise contra dance, in an ADAE tuning. It rang pretty nicely on those tunes in D major. But with all that "A", I noticed even more the tendancy for a bit of a wolf on the open A. Easy enough to handle with a little practice, but why should one need to?
So today, I pulled the top and am taking some of that thickness out of the back. A fair amount actually. Not overly thin, but a significant proportional change for this fiddle.
I am curious to see the effect it has.
Working down the underscoop of the fingerboard with gouges, thumbplanes, and finally scrapers. Nearly no one sees this, but it's nice to get the board to a proper thickness.
Using a template to check the long arch.
Toothed-blades in the thumbplanes. It helps avoid tear-out on the flamed maple, plus, and I find this more important, it is easier for me to see the arching when the wood is not so smooth. Sometimes that figure, when it's shiny, makes you see things, such as dips or rises, that don't really exist.
When the toothed-blade work is fairly close, finish off with scrapers.
Still a bit more to go, but I'm done for the day.
My eBay Listing - Vintage English Made Boxwood Spokeshave with Original Decal, 2 1/2 inch long blade
This shave is 10 13/16 inches long, the blade is 2 1/2 inches long and is has a partial original decal. Decal reads Superior Quality and perhaps Sheffield Made. I believe it is made of boxwood, the shave is very light in weight and has a yellow hue to it.
Has owner's name stamp on it, W. Jeffery.
This spokeshave is in good ++ condition.
I purchased this spokeshave in 2005 at an antique shop while on vacation in Exeter, England and I have never used it, only as decoration on a shelf in my guitar workshop. It needs a good home!
Purfling on a violin is typically a strip, black-white-black, which is just inside the edges of the top and back. It's made of three pieces, black, white, black, which are glued together.
First one has to cut the grooves for the purfling.
And then the purfling is bent, cut and glued into place.
On the upper left of this photo, you can see some of the cut-offs of the purfling strips. The glue will dry for a day, then I can continue cutting the outside arching for both of these plates.
Audrey DeLella Benedict, The Southern Rockies, 1991
It is sunny today with bluebird skies highlighting the golds and oranges of the aspen trees.
Fog covered our little hollow all day yesterday, the sun came out at exactly 4:45pm and shone upon us for fifteen minutes, then the clouds came back.
The aspens and ferns in the backyard...
A few wildflowers are blooming, like this harebell...
Our little flower garden is going to seed...
I dropped six ponderosa pine on our property last week for firewood and fire mitigation, as you can see I have much work to do splitting and stacking the firewood.
This is the latest guitar on the bench, a 1961 Hernandez y Aguado style guitar, with a Colorado Engelmann spruce top...
and ziricote back and sides.
I am in the process of pore filling, later this week I will start the French polish.
It has an incredibly loud tap tone, it will be wonderful guitar.
Now, get out to your shop and make something!
I joined the top a few weeks ago, but just this morning did I get around to tracing and cutting the outline. After working on hard curly maple of the back, it sure is fun to slice out big curls of spruce.
About 20 minutes of work with a big #7 gouge and a large thumb plane can remove most of the overhead on the top. I leave the corners big at this point. It's easier to get them into shape when there's less thickness to worry about, and a split or break near the corner is less likely to be a problem. The plate is about 6 mm thick on the edge at this point in my process.
Taking a break to tend to a few other shop projects, I came back to it this afternoon for about an hour. Cleaned up the curves a bit, took the edges down to about 4 mm thickness, and started the arching.
Michael Dunbar, Restoring, Tuning & Using Classic Woodworking Tools, 1989
I bought several toothing blades to use in my No.3 and No.5 Stanley planes to plane some "lower" grade East Indian rosewood back and sides. The irons work, but I have to be aware of the cutting depth of the iron, grain tear out is still possible using a toothed iron in a standard plane.
At the time I made this plane, I couldn't find any decent wooden toothing planes for sale on the internet. That's a good enough reason to make time to build one.
Following and adapting the plans for the "sandwich technique" found in Wooden Planes and How to Make Them, by David G. Perch and Robert S. Lee, which you can buy here, I started with a piece of 3x3 inch oak I had in my wood cache.
I ripped the sides from the main stock on a table saw, then sized the main body with the same saw, took all the pieces back to the bench and jointed everything with a No.7 jointer and a flat sanding board.
All angled pieces were cutting with my Bosch sliding compound miter saw. The cheeks to hold the wedge in were cut by hand with a handsaw.
I glued the whole thing together with hot hide glue, not the hide glue that comes in a plastic squeeze bottle, but the glue I made in my little brass glue pot and applied with a brush.
The plane does work. I made the width of the plane a little too wide for the iron and the iron chatters a bit. I think I will make another toothing plane, but this time I will make cap for the iron to see if that reduces the chatter.
Getting down to smaller tools, sharper tools, taking smaller cuts. Getting the outline closer to the final shape. Corners are always a challenge. Starting to bring the arching into shape, comparing them to arching templates that I made out of paper and cellophane tape.
Flattening is somewhat annoying -- most of it will disappear. When it's flat, lay the rib assembly on it, and trace it. This little bit near the tracing will remain. That outside of it will be cut away. And just inside, it will be scooped out after the outside is finished.
Figured maple is tough wood to work. Here is the same piece, flipped over, with a rough outline and the start of the arching.
This afternoon I was planing some cherry dulcimer fretboard blanks flat and true. These pieces of cherry had been rough-sawn, squared up and left a little oversized quite some time ago. The wood has had plenty of time to release stresses and further season before becoming part of a dulcimer.
Wood is designed to keep trees alive and trees don’t always think of how they will be used after they die. This can be annoying because sometimes a perfect piece of wood will be difficult to work. “Take that!” says the dead tree.
These cherry fretboards had some interlocking grain. This means there are areas on the board where grain direction is almost irrelevant. These areas are hard to plane smooth without some spots of grain tearing out.
To the rescue comes an old #12 scraper plane.
This tool holds a scraper square and true and allows for fine adjustment of the angle and depth of cut. This scraper plane will take off fine shavings regardless of grain direction and leaves a smooth, flat surface in it’s wake.
Here’s a shot of the setup I use for planing or scraping fretboard and fingerboard stock. The heart of the setup is an oak beam that is planed true and flat. It has a bench stop at one end and clamps to the bench top. This gives me a true surface for planing and also raises the height of the work a few inches to make planing more comfortable.
George Ellis, Modern Practical Joinery, 1902
Miter joints in classical guitar making are purely decorative.
Most joints are butt joints. The sides are joined to the heel of the neck in slots, a scarf joint is used to make the head/neck union, some makers use a fancy "V" joint for that union. Click here to read more about the "V" joint.
The only place where I use a miter joint is where the bindings meet the end graft.
The binding runs over the top of the end graft...
...and a miter joint is used to join the side binding purfling to the purfling in the end graft.
As you can see in this photo, the bindings are butted together. Some makers use a scarf joint to join the ends of the binding.
Fancy binding and purfling schemes don't make a guitar sound good, that sound comes from how the wood is worked.
Pretty binding makes for a visually pretty guitar.
My goal is to make a guitar that sings so well your heart melts.
My eBay Listing - The Fine Art of Cabinetmaking, The Impractical Cabinetmaker, by James Krenov, Hardcover First Editions
Factory fiddle, no label. Probably German, possibly early 20th century or late 19th. In for repair, including a peg-box crack at the A. Installing a spiral bushing here. While doing so, I noticed file marks under the varnish -- tool marks from the original woodworker who cut this scroll. Just thought it was cool.
I am listing the following tools:
1 1/2 inch Vintage Stanley Everlasting Chisel
3/4 inch Buck Bros Chisel
3/8 inch Vintage Made in Germany Chisel
1/4 Stanley Chisel with hand turned walnut handle
1 inch Taylor No. 5 Sweep gouge with hand turned dogwood handle
14/8 Pfeil Swiss Made V gouge
5/25 Pfeil Swiss Made Gouge
The Pfeil gouges do have some rust on the blades and handles have some discoloring, but should clean up to make nice user gouges.
The other chisels and gouges are in good+ condition and are ready to go to work!
Please ask questions!
Don't miss out on this saw! The blade is super straight, it is the straightest rip saw I have ever purchased!
It has a very readable etch, the blade has some tarnish and rust, but should clean up nicely and make this a great user saw. Handle has original finish with the usual toolbox dings and scratches, a previous owner has scratched an "A" onto both sides of the handle.
I purchased this saw about 11 years ago and have never used it, it has sat in a tool chest since the day I bought it. This saw needs a good home! Please ask questions!