3/4-Size Violin Neck-Set

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3/4-Size Violin in Progress. Purfling and Neck-Set

Purfling first, then Neck-set

When I last posted, the fiddle looked like this:

Purfling Slot Incised

Purfling Slot incised, but not completed.

 

Installing Purfling

This next step was to go back over the incisions, cutting them to the correct depth. Then I used a purfling pick (there are many different types) to shave out the waste wood from between the incisions. The last thing I do, before installing the purfling, is to go all the way around the slot, checking the width and depth with a scrap of dry purfling. I want the fit to be snug but not tight, and deep enough that the purfling will be flush with the surface of the plate. Here is the completed slot:

Purfling slot completed

Purfling slot completed

 

I used a bending iron to shape the sections of purfling, installing the Center bout sections first, and mitering the corners to form the desired “bee-stings.” As I cut the ends of the upper and lower bout sections, I have to check and be sure that the two mating miters will form a single sharp point, shaped exactly the way I want. This takes a good deal of practice. As one of my teachers told me, “Sure, this is tough! If it was easy, everyone would be good at it!” (Funny, that seems to be true in most walks of life…) Once the purfling is all in place, dry, I can begin gluing. Here is the dry fit:

Purfling Dry-Fit

Purfling Dry-Fit

 

Next I pry up the center of each of the center-bout strips, and, using a thin palette knife, I slip hot hide glue in under the lifted purfling, then, working quickly, I push the purfling back into the slot, and drive it home using a special tool. I start at the center ans work toward both ends, so that the glue being forced from under the purfling is driven along toward the ends of the center bout purfling strips, into the mitered corners, so that it glues the ends of the upper and lower purfling strips in place, as well.

Here is the freshly glued purfling, driven as deeply as I could manage, into the slot:

Freshly Glued Purfling

Freshly Glued Purfling

 

Freshly glued Purfling Detail

Freshly glued Purfling Detail

 

The next step is to sketch in a line 40% of the distance in from the outer edge, toward the purfling. It is a faint pencil line, but it serves as a guide to show me the limits to the channel…the broad trough around the edge of the violin:

Edge Crest boundaries inscribed

Edge Crest boundaries inscribed…it’s a blurry photo, but you can see the penciled lines.

 

Then I begin cutting the channel: a trough whose outer edge is the line I just inscribed, but which cuts only as deep as is necessary.

Beginning of the channel. The Edge crest is still visible.

Beginning of the channel. The Edge crest is still visible. I have just begun to cut the channel.

 

Purfling Channel Completed

Purfling Channel Completed

 

Purfling channel Detail

Purfling channel Detail

 

Neck-Set

I laid out the neck mortise, using pencil and straightedge. Then I cut the edges of the mortise, using a razor-saw, and carved the wood away to form the mortise. It is somewhat tricky (like all the jobs in lutherie), but I got it done. Once everything was perfect, I glued the neck heel into the mortise, using hot hide glue:

 

Neck-Set Front

Neck-Set Front

 

Neck-Set Side

Neck-Set Side

 

That was all I did that day. 🙂

The next step will be to remove the mold and install the back linings to the ribs.

Thanks for looking.

 

 

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