And, The Finish!

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This is how a violin is completed:

Last time I posted, I had just completed the commissioned five-string fiddle, up to and including the sealer.

Sealed five string fiddle handmade in Oregon by artisanal luthier Chet Bishop — Sealed instrument, Front View

back view of sealed five string fiddle, handmade in Oregon by artisanal luthier Chet Bishop. — Sealed instrument, Back View.

Varnish:

The “magic” of the sealer was that it caused the mineral ground to disappear forever. The instrument instantly went from stark chalk-white to a natural wood color, and the mineral will never be visible again. I always enjoy that transformation.

The Varnish, on the other hand, is a series of relatively small changes, wherein the violin not only achieves the color we want. Furthermore, the increasing clarity and depth of the varnish gives the impression of being able to “see into the wood.”

I always begin with a couple of coats of deepyellow or amber varnish, as an undercoat which will shine through the later color coats.

Yellow First

Here is the violin after the two coats of yellow varnish:

Yellow varnish base coat on a commissioned 5-string fiddle handmade in Oregon by artisanal luthier, Chet Bishop — Front View, with Yellow base coat.

Yellow base coat varnish on treble-side of commissioned 5-string fiddle, handmade in Oregon by artisanal luthier, Chet Bishop. — Yellow base coat, Treble Side View.

Yellow base coat on back side of 5-string commissioned instrument, handmade in Oregon by artisanal Luthier, Chet Bishop. — Back View with Yellow base coat.

Color Coats

Next, I bagan layering the color coats, building to the look I planned. (Each “coat, in reality is usually two coats, applied in quick succession. There were about eight total color coats, but I will call them “first through fourth.”)

First color coat on front of 5-string fiddle handcrafted in Oregon by artisanal Luthier Chet Bishop — First Color Coat, Front

First color coat on treble side of commissioned 5-string fiddle handcrafted in Oregon by artisanal luthier, Chet Bishop — Treble Side, with First Color Coat.

First color coat on back of commissioned 5-string fiddle handcrafted in Oregon by artisanal Luthier, Chet Bishop — First Color Coat, Back

First color coat on bass side of commissioned 5-string fiddle handcrafted in Oregon by artisanal luthier Chet Bishop. — Bass Side, with First Color Coat.

This maple is really beautiful wood. I wish I had a lot more of it, but, sadly, I only was able to salvage a little of the tree from which it originated. The “donor tree” was removed from the property where my wife and her siblings grew up. It had finally rotted and was becoming dangerous, so they removed it. But the wood is gorgeous. You can see the stump in this article….

Continuing color coats

As you can see, the yellow base coat is still showing through pretty strongly. That is good, but I still wanted to move the color toward a deep reddish brown, with the golden yellow shining through. Therefore… I needed more color coats!

Second Color Coat on 5-string fiddle handcrafted in Oregon by artisanal luthier Chet Bishop — Second Color Coat, Front

Second Color coat on back of 5-string fiddle handcrafted in Oregon by artisanal Luthier Chet Bishop — Back, with Second Color Coat.

The color is headed in the right direction, but still needs to be deeper. I will add extra color in any areas that should be darker.

Third Color Coat, front side of 5-string fiddle handcrafted in Oregon by Artisanal Luthier Chet Bishop. — Third Color Coat, Front.

3rd color coat on back or 5-string fiddle handcrafted in Oregon by artisanal Luthier Chet Bishop — Oregon Big Leaf Maple Back, withThird Color Coat.

I was getting pretty close to correct, so I began taking the instrument out into natural light, to check the color there.

Fourth color coat on five string fiddle handcrafted in Oregon by artisanal Luthier Chet Bishop. — Fourth Color Coat, Front.

4th color coat treble side of 5-string fiddle handcrafted in Oregon by artisanal Luthier Chet Bishop — Treble Side with Fourth Color Coat.

4th color coat, back side of five string fiddle handcrafted in Oregon by Artisanal Luthier Chet Bishop. — Back, with Fourth Color Coat.

4th color coat bass side of commissioned 5-string fiddle handcrafted in Oregon by Artisanal Luthier Chet Bishop. — Bass side, Fourth Color Coat.

The color was pretty close to what I had hoped to produce. Therefore, I felt that I was ready to reinstall the fingerboard, Afterward, I would hand-rub the varnish to a good polish. Finally, I allowed it to hang in my dining room and cure a little more fully.

Fingerboard

First I carved the underside of the fingerboard to remove extra mass. This affects the sound, as well as the feel of the instrument. (Extra, unnecessary mass tends to absorb vibration rather than resonate.)

Then I carved a tiny notch, dead center on the upper end of the backside of the fingerboard, where it would contact the neck. After carving the notch in the fingerboard, I drilled a shallow 1/16″ hole in the neck, to accomodate a tiny nail.

That nail is temporarily installed, to serve as a guide and an anchor while installing the fingerboard. The hide glue is very slippery while it is still hot, and liquid. There is a tendency for the fingerboard to “drift” under the clamps, before the glue can gel.

The notch in the fingerboard fits on the nail. The nail, then, serves as a temporary stop, so the fingerboard stays put. (I remove the nail after the glue has set.)

Fingerboard installed on 5-string bluegrass fiddle handcrafted in Oregon by artisanal luthier Chet Bishop. — Fingerboard installed. Notice the tiny nail used to temporarily position the fingerboard.

Beginning Set-up

After a few more days, I began set-up. First, I installed the soundpost, saddle, nut, and end button. Next, I fit the pegs, and was ready for the bridge and the strings.

Nut installed on 5-string bluegrass fiddle handcrafted in Oregon by artisanal luthier Chet Bishop. — Nut installed: it will be filed lower before installing strings.

You can see in the above photo that the varnish was still very soft. Everywhere I touched it, it also resulted in my leaving fingerprints. I had to “French-polish” the whole instrument afterward, and let it hang until the varnish was harder. Then it would be easier to handle. (But it was good to have the set-up nearing completion, too.)

Completed five-string fiddle ready for retouching. — Completed five-string fiddle ready for varnish retouch.

Pegs

After the varnish had hardened a little more, I then installed the pegs.

Bass side with pegs, Five string bluegrass fiddle handcrafted in Oregon by artisanal Luthier Chet Bishop. — Bass side view with Pegs.

Back side of five string bluegrass fiddle handcrafted in Oregon by artisanal luthier Chet Bishop. — Back Side View with Pegs.

Final Set-up

I installed the Bridge and Strings and Tailpiece, and then the fiddle was complete. I still let it hang in my dining room for a week or so, too, so that the varnish would continue to harden without damage.

competed 5-string bluegrass fiddle handcrafted in Oregon by artisanal luthier Chet Bishop. — Hanging up to cure.

Final photos

Final front — Final look at the Front before delivery.

Close-up look at the f-hole area. — Close-up of the f-hole on the Oregon Douglas Fir Front.

Bass side final look before delivery. — Bass side: final look before delivery.

I prepared the instrument’s documents (Bill of Sale and Provenance Document) and afterward, when the varnish had cured for another two weeks, the customer took delivery at the end of July, 2023.

He was delighted, and played the instrument for a long time at my house. Further (which is a joy to me,) he has contacted me since then, expressing his continued joy in the new fiddle. That is the kind of thing that makes this work a great pleasure.

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June 9, 2023June 9, 2023

Artisanal Lutherie? Artisanal Violin Making? What Now?!?

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“Artisanal Violin Making!”

Until recent years, I had never even heard the word “artisanal.”

For 23 years, I naively thought I was “just a violin maker!” But then, I began hearing about “artisanal bread,” and “artisanal cheese,” and “artisanal restaurants.” And then someone sent me a satirical video about artisanal firewood! It was very tongue-in-cheek: definitely making a joke of the whole idea.

So, I looked the word up on the internet, hoping for a clear definition. There was a whole interesting article on Wikipedia about the term, giving the history, and all.

It turns out that I qualify! (So does every traditional luthier, but this is news to me!)

It reminds me of an old joke:

(“Last week I couldn’t spell [insert professional title] and now I are one!”)

Does it Really Matter?

It turns out that possibly part of the reason people are beginning to call me for “bespoke, custom-made, commissioned” violins and five string fiddles (yes, I know those terms amount to redundancy) is just because I do “make them one by one and almost entirely by hand.” But, so do most makers. (I use a bandsaw to cut out the rough billets. I also use a drill press to make parallel 1/8″ pilot-holes for the tuning pegs. But mostly hand tools.)

Possibly part of the reason they come to me is that I can tell them exactly where the wood came from: I can even show them the actual stump from which it was cut, in some cases.

(That particular Oregon Big Leaf Maple stump was the source of a small stash of wood I salvaged when the tree was removed because it was becoming dangerously rotten.) It was a sad day, when they removed the tree, as my wife and her siblings had played there, and climbed in its branches, during their growing-up years. But it was the source for a few instruments like this one:

Possibly it is because they enjoy the step-by-step continual progress reports, which I send them, every few days, and they get to see their instrument “being born.” They get to choose the overall “flavor” of the look and feel of their fiddle. Some have particular expectations in terms of color, texture, etc.

It is all rather strange, as, to me, that is “just how I make violins.” I had never applied the word “artisanal” to myself before. I just made things, and I did business the “old way.”

But that’s fine: it doesn’t change anything, really. It is just a new perspective for me.

“Artisanal Lutherie!”

It does have a certain ring to it!

🙂

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February 28, 2022April 8, 2023

Five String Viola Conversion

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First Five String Conversion

Contact from a Potential Customer

A young man contacted me by phone, over a year ago, asking about a large, five-string viola. He was very polite and not at all aggressive or assuming, but he essentially had no money for such an instrument. The phone call was a very pleasant conversation, despite the lack of funds and I was at least able to answer all his questions.

After we disconnected, I simply assumed I would not hear from him again, and eventually forgot about it,

Second Contact

The same youmg fellow contacted me again. a year later. This time, he had been “saving his money, ” but, unfortunately, not quite enough. So we talked over the options. Eventually I offered to convert one of my earlier orchestral violas to a five-string viola at the price he could afford. He liked that idea, and eventually, after his final approval, I began the project.

An older 16-1/2″ Oliver Viola

I began with this viola– my own design. The viola played quite well, but, for some reason, no one had purchased, so far. (It was instrument #11, viola #4 from my Bluefiddles site.)

The Plan

As I usually keep my viola necks fairly narrow, for player comfort, I needed to make a wider fingerboard and nut, to accommodate the fifth string.

Obviously, I also needed to plug three of the peg-holes and drill four new ones. They had to be positioned so that all five would fit on the pegbox, and the strings would still not rub on another peg, when tuning.

Photographs

I did not take any photos of the fingerboard and nut changes, but here are a few photos of the scroll in progress. (Also, midway through the conversion, he asked whether I could darken the varnish. That really had not been part of the “deal.” But, after thinking about it, I decided that I could try to do it with minimal labor, and just count it “good customer relations.”)

So: here are some photos of the scroll after plugging the original holes and drilling new ones. I capped all the plugs with figured maple, to avoid leaving the dark circles which usually remain after such an operation.

The different background and lighting (shifting position, trying to eliminate reflections) resulted in different apparent color…but they actually match.

Adding Color

About the time I reached this point in the conversion is when the customer requested the color change. It turned out that he liked the color of his current instrument, and hoped I could mimic that somewhat. 🙂 (Okeedoke...)

So, I began adding color; sparsely, at first, until I could see how it was building. About three very thin coats of a dark, red-brown varnish were required to offset the original golden brown, and produced the color that he wanted.

five string Viola conversion handmade in Oregon by Chet Bishop Luthier — Dark front, still unfinished.

five string viola conversion made in Oregon by Chet Bishop, Luthier — Here is the Dark back, still unfinished.

Set-up and completion

At the point where I felt things were beginning to look correct, I added a clear coat, and allowed it to dry for a few days before setting the instrument up. But then I set it up with Evah Pirazzi strings, and it hung in my dining room, where it could dry still further, while waiting for a check to arrive. (This is where I frequently hang my instruments for final drying, as it is usually the warmest room in the house.)

Finally, a check arrived, and I first sent a provenence document with clear photos of the instrument for identification purposes, (for insurance, and, in case of theft.)

Provenance Document

I always include a provenance document for my hand-made instruments, along with the bill of sale. That way, if the instrument ever gets stolen, they have clear proof that the instrument is theirs, along with good photos by which to identify it. The front page includes a dozen accurate measurements, and the back side (Two-sided document) has all the photos.

Shipping

Finally, I packed it carefully and shipped it off.

The 5-string viola arrived five days later, undamaged and still in tune. Most luthiers only ship their instruments with the strings slack and the bridge down, to minimize the chance of damage.

I don’t want to make the customer set-up the instrument, so I carefully wrap and pad the instrument inside a good case. Then I pack the case in an oversize carton, with yet more padding, and so far, the instruments have arrived safely, and usually still in tune.

Soundpost magic

I’m not confident that the customer has access to a luthier who can set up and adjust five-string instruments. The soundpost fit and position is critical to the balance across the strings. That balance is touchy on a five-string instrument, and not everyone succeeds at it.

People odten tell me their 5-string fiddle sounds “dead” on the C-string. A five-minute readjustment of the soundpost brings it back into perfect balance. So…I go ahead and ship them fully set-up and ready to play.

five string viola handmade in Oregon by Chet Bishop, Luthier. — Final appearance, front view.

The customer loves his new Viola. He is thrilled with his new five-string, and is practicing the Bach Cello Suites on it now. He promised to send a video, once he gets accustomed to the “five-string feel,” so when the video comes, I will add it to the website.

Here it is!

Practicing the Bach Cello Suite #6

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March 13, 2021August 10, 2021

Latest Development

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15″ Five String Viola in North Carolina!

A shop in Charlotte, NC has agreed to take one of my fiddles on consignment.

The shop is called “The Violin Shoppe” and is a pretty important outlet in that area for stringed instruments, so I am thrilled to be represented there.

One of the owners, Glen Alexander, is a great fiddler, and demonstrated the posiblities offered by my little five-string viola, on his facebook page as well as on YouTube.

Here is the YouTube video: Glen Alexander putting my 5-string fiddle through its paces.

I’m gratified to see an Oregon Five-string fiddle, there, and to hear him play it!

Meanwhile, I have others on the way. 🙂

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January 4, 2020April 21, 2022

Bluegrass 5-string on the way

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This is only a note, to point you to a new build over on my other website:

Commissioned Handmade Five-string Fiddle Beginning

And, further progress:

More 5-string Fiddle Progress

If you know anyone looking for an acoustic five-string fiddle or a five-string viola or cello, please send them my way. 🙂

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December 14, 2019October 13, 2020

New Five-String Fiddle Commission on the Way

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New Five-String Fiddle Request!

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!)

Test-Drive

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…

Custom Build!

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!)

Select Woods and a Good Start

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.

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February 9, 2019February 9, 2019

Instrument Show in Corvallis

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Instrument Show in Corvallis, Oregon

Violin-family Instrument-Makers from around the Pacific Northwest will be there.

I will be there, with Violins, Violas, Cello and five-string fiddles.

I hope to see you there.

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May 9, 2018

New Page: Books!

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New Page! Download Books!

Photo-Essays on lutherie, offered as E-Books

Right now there are only two books, but hopefully others will eventually appear there, as I write them.

The first is the chronicle of an acoustic five-string fiddle build.
The second is the story of the completion of the Jensen Cello.

Click on this link, or simply return to the home page, and click on the “Books” page at the top.

In E-book form, they are being offered free of charge. They would be quite expensive to print, because of all the color photos.

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April 16, 2016April 16, 2016

Myrtle and Port Orford Cedar Oliver 5-String Fiddle; and an upcoming Show

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New Five-string Fiddle

Myrtle Wood and Port Orford Cedar

Some time ago, a friend (Cliff Stansell, of the Pistol River Trio) asked me to build (strictly on speculation) an Oliver five-string fiddle of Oregon Myrtle wood (for back, sides and neck) and Port Orford Cedar (for top and bassbar). He prevailed upon his brother (Les Stansell, a maker of Guitars and Ukuleles, using those woods) to donate the wood for the experiment. This is the result:

What about Sound?

Well, quite honestly, it has been strung up for less than 12 hours, and, though I have spent some time playing it, and adjusting the soundpost, etc., it is really still too early to be sure how it will sound.

So far, I feel pretty positive about it. I know the arching and graduations are good, but I have never used this combination of woods before, so it is hard to be sure what is a product of the wood, and what is a product of the luthier.

It feels heavier to me, quite naturally, simply because Myrtle is a harder, heavier wood than Maple. But that may be OK. I know that Bubinga (even harder and heavier) is regularly used for five-string fiddles, and I actually have some Bubinga to try someday soon. The Koa I used for the 5 string fiddle last year was also very hard and heavy, and it turned out to sound very good. So I am hopeful that this one will too. It already sounds good…but I want it to sound Great!

(Update: by the next morning the sound had improved remarkably, as new instrument frequently do: I had adjusted the soundpost just before calling it quits for the night, and such adjustments frequently take a few hours to “settle in”.)

Marylhurst Show is coming up in two weeks.

For anyone interested, the Annual Marylhurst Musical Instrument Makers’ Show (click the link for details) will be April 30th and May 1st this year. I hope to see you there. Come and test-drive this fiddle and the others.

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