Bluefiddle's West Wind Strings
Instruments by Chet Bishop
Instruments I have recently completed, or recently begun.
This is only a note, to point you to a new build over on my other website:
And, further progress:
If you know anyone looking for an acoustic five-string fiddle or a five-string viola or cello, please send them my way. 🙂
Thanks for looking.
A client contacted me through my other website (fivestringfiddles.com) and asked whether I could build a 5-string fiddle of primarily Oregon woods. (Sure!)
So, she came for a visit and played eight of my hand-made instruments (all good fiddles), finally declaring a particular one to be exactly what she wanted, except that she did not care for the look of the one-piece Sitka Spruce top plate. It had very wide grain on the bass side and narrower on the treble side. (It sounds great, but the looks were bothering her.) Soooo…
I went into my storage and retrieved a really wild-grained piece of Big Leaf Maple, and two billets of very straight, even-grained Spruce: one of Englemann, and another of Sitka: she chose the Englemann and loved the maple. She wanted an instrument essentially the same as that first one, but without the odd-looking belly grain. (Same model; made on the same mold (form), and sounding just like it, as well.) It will be tough to do, because the one she really likes is already five years old; it has had time to settle, be re-adjusted, and settle again. (Yes, it sounds good!)
So, we went out to one of my other buildings and hand-picked some likely-looking wood for the neck and ribs, and we were ready to do business. She presented a deposit, and I suggested that she take home the one she loved, for the time being, to keep her interest up while waiting for me to complete her personal treasure. She went home happy, and I began sorting willow for blocks, finding my proper templates, and enjoying the prospect of a new build. I will post follow-ups as they occur.
Thanks for looking.
The varnish is still pretty soft (so players at the show will just have to be gentle); but the Plowden is finally complete, and playing well.
The 1715 “Titian” Stradivari copy and the 1735 “Plowden” Guarneri del Gesu copy will both be there at the Corvallis Hilton Hotel, for the “Violin-Tasting Event” hosted by Jon Franke, from 12PM to 5PM March 10th.
I’ve been playing them, to my best ability, to get them opened up and the strings settled in, a bit, but I hope that far better players will be there tomorrow at the show.
Anyway, here they are (finally): completed, and ready for a lifetime of music.
I also expect to exhibit violas, five-string fiddles, and a cello.
Hope to see you there!
Thanks for looking.
I have been in a mad rush to complete this violin before the upcoming show (“Violin-Tasting Event”) this coming Sunday, at the Hilton hotel, in Corvallis, so I took very few photographs, but here are a few:
Once the varnish had hardened, I sanded it back very gently, installed the endpin, pegs and saddle, and then applied one more coat of varnish. It is very soft, now, so I scarcely dare touch it, to re-install the fingerboard, let alone set a bridge and add strings. I have it hanging up in our dining-room, where the woodstove is keeping things warm, in spite of the snowy weather we’ve been having. Hopefully it will be dry enough, by this evening, so that I can add the fingerboard and then complete the set-up tomorrow. I don’t want to rush things, but I am running out of time.
Anyway, here is how it looks right now:
The instrument definitely still needs a rub-down, and I hope I will get to do all that before Sunday.
It looks and feels as though it will be a very good violin. Time will tell, of course.
Thanks for looking.
Graduating hard maple can be a tough, laborious job. Besides, there is always the possibility of carving too deeply and ruining the plate. So, I try to cut the risks by creating a “map” by marking the thickness every few centimeters, and then carving the “dots” until each “dot” is about the thickness I want. Finally, I connect the “dots”, using planes and scrapers, checking for thickness as I progress.
Once the graduations are complete, and the inside of the back plate has been scraped completely smooth, I install the label and I am almost ready to close the corpus. In this case, however, I also had decided to use the scroll I had carved, but graft a new neck to the scroll, as the original neck was too thin: so there was a good deal more work involved. Here is the grafted neck, partially shaped, with the completed back plate:
I had been anxious to complete the back plate, and had not yet set the neck. So I completed the neck and installed the fingerboard.
Next I set the neck, so that the angles were all correct.
Then I removed the mold, and installed the inside linings on the back edge of the ribs, shaped the linings and the blocks, flattened the back of the garland, and installed the back plate. I use spool clamps and a single large spring-clamp to close the corpus. My wife thinks the spool-clamps look like old-fashioned hair-curlers.
Once the glue was dry, I removed all the clamps, cleaned off any glue that had squeezed out of the joint, and trimmed the button and heel. The dimension from the juncture of the top edge of the front plate and the side of the neck heel (from each side) to the very center of the curve of the heel, should be right at 26 mm. You can see the two marks I laid out with a compass, testing that distance: it was still a little too high in the center of the curve, so the neck needed to be trimmed a little more.
Once the neck-heel and button were trimmed, I still had to perfect the outline of the back plate, making certain that the overhang was even all around, as much as possible. Then I laid out the purfling slot, using a purfling marker, and began incising the outlines of the slot.
Next I cut the slot out, using a small knife and a purfling pick, then dry-fit the purfling, after bending it on the bending iron. Finally I glue it in place, using hot hide-glue.
I marked a crest-line, about 1.6 mm in from the outer edge, then used a gouge and scrapers to carve the channel, and fair it into the plate surface. The edges were all still quite rough,and crude, so I began shaping them, using a small plane, and a half-round file, then sandpaper to get a smooth edge all around. I don’t use sandpaper much, but this is one place where it is appropriate.
Once all the varnish preparation is complete, I brush a coat of coffee all over the instrument, to tan the wood a little, and raise the grain. When that is dry, I sand off most of the raised grain, using 400-grit sandpaper. This ensures that the grain will not raise too much during application of the spirit varnish, later. Afterward, I rub in a coat of gypsum in a coffee suspension, to fill the pores of the wood with particles of the mineral. This keeps the varnish from saturating the wood, and possibly dampening the sound.
I expect that, by tomorrow, the sealer will dry sufficiently that I can begin varnishing. I am getting anxious, as the show is a week from tomorrow, and I am far from completing this instrument.
Thanks for looking.
I will probably polish it more, and make adjustments, here and there, but the violin is essentially done.
The photo below is not a good representation of the color– the flash made it look unnaturally bright. The back photo is pretty accurate, though:
Anyhow, that is where it stands. I have a show in March, in Corvallis, as I announced earlier. I still hope to take this instrument as well as the “Plowden ” Guarneri del Gesu copy to that show, along with a few others: violas, five-string fiddles, and at least one cello.
Hope to see you there.
Thanks for looking.
While varnish was drying on the Titian model, I went back to the Plowden model, and began purfling the front plate and graduating the back plate:
Also, I finalized the finishing process on the Titian model, and an ready to begin set-up. The pegs are trimmed, polished and drilled for strings. The nut is at the correct level and has been slotted for strings. The saddle is installed, too. The end button and soundpost were both installed quite some time ago. So, really, all that is left is the bridge and strings, and final adjustment. I don’t tend to count the tailpiece, but, as a matter of fact, it, too requires some adjustment. So does the chinrest, so I shouldn’t treat them as non-entities. The feet opf chinrests virtually never fit correctly as shipped. Tailpiece adjustment requires trial and error fitting, to get the ratio between vibrating string length and after-length (string between bridge and tailpiece fret) adjusted to a 6:1 ratio.
Anyway, here is where it currently stands. I could probably finish it tonight, but then I would be too tired to go to work in the morning…so, tomorrow will have to do. 🙂
So, I hope to take both of these instruments to the show in March (“Violin Tasting Event” at the Hilton Hotel, March 10th in Corvallis, OR), as well as the one in May (which used to be the Marylhurst show, but it will now be at Portland Community College, Sylvania campus: still called the Northwest handmade musical instrument show.) Anyway: lots of work left to do, in order to get ready.
Thanks for looking.
When I last posted, I had only the yellow, base coats of varnish in place, so the violin looked like this:
I added a rapid series of color coats; very thin, deeply-tinted varnish, and then it looked like this:
After that coat was good and dry, I continued to build the color in the areas that needed more, and trying to leave it appropriately light in the areas where the Old Master instrument had the most severe wear. I also noticed that there was a “bump”–a ridge in the spruce, near the purfling, which I had not been able to see in the clean, fresh wood, but which, under a reflective layer, became quite apparent. (Sigh...) So, I used a sharp scraper to bring the ridge down flat, and then began rebuilding the varnish layers to match the rest of the area.
The back was looking pretty nice, though:
And, today, I installed the soundpost, and then applied two coats of clear varnish. Afterward, I installed the end-pin, the tuning pegs, and the fingerboard. Here it is with the clamps still in place.
So: That’s as far as I got, today. Next time; the saddle, the nut and final set-up. This violin is nearly completed!
Thanks for looking.
Before any finish materials can be applied, the wood has to be about as perfect as I can make it: so I scrape it to its final shape, then dampen it with coffee, to simultaneously raise any fibers that had only been flattened by the scraper blades, but not smoothly sheared off, and, hopefully, add a slight “tan” to the wood, while doing no harm.
Thus, having removed the fingerboard (which had only temporarily been installed) and having applied two coats of coffee, allowing the wood to dry between coats, and having sanded lightly, all over, with 400-grit paper, to remove the raised fibers, and any excessive “corduroy” effect, the instrument went from looking like this:
To looking like this:
Then it is time to begin the real finish: I first coat the wood with a coffee-suspension of very fine, powdered gypsum, hoping to add more color as I fill the grain with the gypsum. I vigorously rub this suspension into the wood, hoping to encourage the tiny particles of gypsum to actually settle into the pores of the wood, so as to fill them, and to slow down the absorption of varnish. It is considered undesirable, in general, to have the varnish really soak into the wood, as it tends to dampen the vibrations that make the sound. Some varnishes are more detrimental than others, but this is something I learned by reading Roger Hargrave’s notes. He is a world-class expert, so I tend to believe him that this is a good idea. I try to remove as much as I can of the excess mineral “ground” before it completely dries, rubbing hard, with a rag, but any that has settled into grain irregularities, I simply skim over, and leave it there.
So, after the gypsum has been applied, it looks more like this:
The sealer locks the gypsum into wherever it has been lodged, and clears the obscurity, making the gypsum completely invisible. The sealer I am using now is a concoction of pine resin, turpentine, and alcohol, with a little yellow tinting. The turpentine and alcohol evaporate, leaving the resin in the wood.
After the sealer dries (a day or so), I begin applying the various coats of varnish: the first two or three coats are fairly yellow varnish, but after that, I begin adding the colors that will characterize the finished instrument.
From this point, forward, the instrument will become increasingly darker, leaning toward reds and browns. Ultimately, I will try to emulate the look of the 1715 “Titian” Stradivarius violin, after which this insrument is supposedly modeled. We will see how it turns out.
Thanks for looking.
Follow
