Violin Making and Repairs for the Novice -

Notes from the Bench

by David S. Lashof
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Violin Making and Repairs for the Novice

Notes from the Bench

by David S Lashof
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Acknowledgements:
With any writing project, there are people that help in the background. Often it is
just a publisher and their staff while sometimes there is a dedication to a family
member. The size of this project, over 10 years in scope, necessitated assistance
from a few different editors. First there was my wife, who read through the entire
book twice, fixing all or at least many of my grammatical errors that the grammar
checker didn’t find, possibly because of the technical aspect of this work. Spell
check was, for the same reason, only marginally helpful.
Then there was Alicia. Because of the technical aspect of this work and the targeted
audience, it needed to be looked at for technical continuity and from the eyes of
someone that would look at it from a beginner’s status. This was hard from the
authors experienced level to do oneself, as the brain glosses over procedures
because that brain already knows how to do it. So, a different, but also experienced
mind has to look at it with a different focus. This was, I’m sure, a colossal amount
of work, and with the number of comments I received, I know it was.
So, not enough thanks can be said to Beth, for putting up with it for 10 years; to
Alicia, who could see the forest through the trees; to Gen who was I’m sure was
neglected, and to Mira who felt rejected at times.

Third Edition 2019, Copyright © 2016 by David S. Lashof

A few drawings in this book are from The Repairing & Restoration of Violins, by Horace
Petherick which is part of the Guttenberg E-book collection of free public domain works.

All rights reserved. No part of this book may be reproduced or transmitted in any form or by
any means, electronic or mechanical, including photography, recording, or any information
storage and retrieval system without prior written permission from the author.
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Violin Making and Repairs for the Novice

Notes from the Bench

by David S Lashof

Lashof Violin #168

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Introduction
Making violins can be a very rewarding experience. It need not be a hard or
overwhelming thing to do. It is time-consuming (your first violin could easily take 250
hours) and can be somewhat physically demanding at times. It takes practice to make
consistently good and beautiful instruments. If done in a systematic and orderly fashion,
anyone with some basic woodworking skills, or a willingness to gain them, can learn to
make their own instrument. Part of the violin's beauty is in its symmetry and smooth,
almost seductive, curves. By following a proper sequence of steps and keeping things
square when needed, this symmetry will result. There is a time for artistic license and a
time for dimension and conformity. If the proper dimensions and conformity are followed,
the artistic license will show up in the details. This will be most evident in the scroll, edge
work and varnish where the true character of the maker can be seen. These earmarks, if
you will, are the signature of the great masters and are how we often establish their
work(s).

In my opinion, good violin makers almost always make good repairmen. The way the
maker approaches the task, the thought processes as well as the complete understanding of
the instrument from both the acoustical and the construction direction, enables the maker
to properly do a repair even if they have never done that repair before. It also allows them,
when doing restoration, to know what the original maker would have had in mind and thus
be able to properly complete the task. Those only doing repair, often self-taught with no
instruction, usually don’t have the proper knowledge to make a violin and thus cannot
understand completely the art of repair and restoration from the point of view of the maker.
Making violins teaches the brain about steps, procedures and patience, the things that are
also really needed in quality repairing. After beginning as makers, many individuals have
ended up going into the repair field; these repairmen have a real advantage.

When making an instrument, it often takes so many hours to make noticeable

progress that you don’t get the satisfaction of completing something for a long time. I will
attempt to provide you with the information needed to do many repairs as well as making
an instrument. The skills you acquire in making will provide for much of that needed for
repairing. Many of the skills required for repairing are introduced first in the making section
and won't be reiterated in the repairing section, so I recommend reading through the
making section first to get the most out of all of the information provided.

Some of the tools needed are very specific to violin making and repair and may need
to be obtained at a woodworker's specialty store or online. Other tools are more generic
woodworking tools you might already have in your toolbox or are available at hardware or
home improvement stores. I find that certain tools, specially made for the violin maker and
thus more expensive, provide a higher quality of finished product and are really a must to
own. Whenever possible I will show you a cheaper tool to do the job. There is a list of all of
the tools and materials (with 2015 prices) at the end of this book (Appendix 1) in the
order in which they are used. I will provide information about making your own version of
the tool, if possible, as well as some alternative tools that can be used. I will use bold text
when any new tools are introduced in the main text. I also use Bold to reference Pictures.
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Some of the specialty tools are available from sellers on Ebay from China. I have no
opinion as to the quality of the tools, but they are certainly considerably cheaper that way.

The materials needed (the actual violin parts) can be of any quality you prefer to
use, but the higher the cost, usually the higher the quality and the nicer and older the wood
will be. Violin wood should be purchased from one of the violin specialty stores as lumber
yard wood is completely unacceptable as it will have been kiln dried instead of air dried and
may have the wrong grain orientation. Depending on the area of the country or world you
live in, some local trees that you can cut yourself might be suitable. However, you would
have to age it a minimum of three years before you can use it. I cut a Willow tree down in
Michigan in 1978 and I have been using wood from that tree for blocks and linings since the
early 1980’s.

I have included a list of some of the better stores and suppliers (Appendix 2) for
wood and violin making tools in the United States. I am not connected in any way to any of
these suppliers; I offer them as places that I have done business with and found to offer
some good products. The cost for tools to make a violin will start about $1500 for the basic
ones that include the must-have specialty tools. You can certainly spend much more if you
were to purchase all of the specialty tools for making and repairing. It may be more
expensive to make an instrument rather than buying a basic student violin. However, if you
make one following these directions, it should sound as good as an instrument that costs as
much as you have spent for the basic tools and materials.

I will be using photographs, drawings, and some sketches to depict, as best as

possible, the important procedures for ease of clarification. Although you may not find
glossy, magazine quality pictures, I will provide simple, informative pictures which remain
instructive while keeping the cost of this work within the reach of anyone interested in
making and restoration. In some instances, I have offered a sketch rather than a picture,
especially when notations or dimensions are required. All measurements given in the text
will be for that of a violin unless otherwise noted. A chart of standard measurements for
violins, violas and cellos will be found in Appendix 3. There will be times that I use metric
measurements and other times where I will use inch measurements (since these will be
more approximate and not so critical).

No one can make you into a good maker, that can only happen with experience and
some natural ability. That ability includes eye/hand/brain coordination; the eyes to see, the
ears to hear and the brain to retain information and alter things as progress is made. The
goal here will be to give you the information to learn to be a good maker; becoming a good
maker is up to you. This work is not intended to be the end-all in making violins, but
rather a beginning for those that want to make a quality instrument for themselves or a
start for those that may want to make this a career or a serious hobby. I will not be delving
into the so-called "secrets" of varnish, or the answers to what makes the perfect sounding
violin as that will vary from player to player. What I will provide is a systematic approach to
what hopefully will be a good looking, well-made instrument, but I cannot teach natural
ability or the training of your eye to hand.

When making your first instrument, I strongly advise that you fully read the
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chapter(s) pertaining to what you are working on so that a complete understanding is

obtained. Sometimes though, you may not fully grasp the ideas until you are working them
through with your eyes and hands. As you progress through this book, try to avoid jumping
ahead, skipping steps. As you get better at using the tools, working the wood and gaining
the feel for what you are doing with subsequent instruments, it may be possible to join
steps together and jump ahead. The quality of your work will be greatly diminished if you
try to skip forward before you have the ability and the overall knowledge under your belt.

I am not going to include any history of violin making as that is covered by so many
different books and to do it justice requires a book all by itself. I will say this; the
construction and design of the violin has stayed basically the same since its inception in the
mid-1500's. Most authorities on the subject agree that Andreas Amati was the founder of
the violin as we know it. Two basic things have changed: the length of the neck and the
length and size of the bassbar. Both were changed in the early 1800's as the tuning of the
orchestral instruments was raised which put too much pressure on the instrument to remain
as it was. Virtually all violin family instruments have been "modernized" to accommodate
the extra pressure. Those not adjusted are used strictly for baroque music or are in
museums.

When you get to the repair section, and this book is written so that you completely
read and gain skills from the making section, I have included some more advanced repair
skills. I have also included repairs that would never be done on a professional quality
instrument. It is the repairman that needs to decide what level of instrument they are
working on and if there is any doubt, lean toward the professional quality repair. Obviously
a $2000 repair would not be done on a $200 new student beginner violin. More on this
philosophy is covered at the beginning of the repair section, but these repairs are still only a
beginning and when learning to repair and restore, the luthier needs to learn the skills on
cheap or worthless instruments so they can gain the needed skills. The best way to learn to
repair, just like making, is with a master luthier at your side.
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Parts of the Violin

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Table of Contents
Introduction

PART I - VIOLIN MAKING

GETTING READY
Ch. 1 Workshop

Ch. 2 Sharpening

Ch. 3 Body Pattern, Template and Form

Ch. 4 Making and Using Hide Glue

BUILDING THE INSTRUMENT

Rib Assembly

Ch. 5 Blocks

Ch. 6 Ribs

• Using a Cabinet Scraper and Burnisher

Ch. 7 Bending and Gluing the Ribs

Ch. 8 Linings

Plates

Ch. 9 Back and Belly Wood

Ch. 10 Starting the Top and Back - Flattening

Ch. 11 Center Seam

Ch. 12 Arching

Ch. 13 Overhang

Ch. 14 Scooping Out the Inside

Ch. 15 Finishing the Edge

Ch. 16 Purfling

• Marking
• Cutting the Groove
• Channel

Ch. 17 Back Graduation

Ch. 18 "f" Holes

Ch. 19 Top Graduation

Ch. 20 Bassbar
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Ch. 21 Rounding the Inside Edges

Ch. 22 Gluing on the Plates

Ch. 23 Saddle

Ch. 24 Neck and Scroll

Ch. 25 Fingerboard

Ch. 26 Cutting the Heel and Mortise

• Cutting the Heel

• Cutting the Mortise

Ch. 27 Button and Fitting the Neck

• Button
• Fitting the Neck

Ch. 28 Shaping the Neck

Varnish
Ch. 29 Aging and Sealing the Wood

Ch. 30 Color Varnish

Ch. 31 Finish Coats and Rubbing Out

• Steps for an Easy Oil Varnish

• Oil and Spirit Varnish Recipes

SET UP AND ADJUSTMENT

Ch. 32 Fittings and Setting Up

• Gluing the Fingerboard

• Pegs
• Nut
• Endpin
• Tailpiece and Gut
Ch. 33 Soundpost and Tonal Adjustments

Ch. 34 Bridge

Ch. 35 Strings and Chinrest

• Strings
• Chinrest

PART II - REPAIRS
BOW REPAIRS
Ch. 36 Rehairing a Bow

Ch. 37 Bow Screw Eyelets

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Ch. 38 Slide

Ch. 39 Recamber or Staighten

Ch. 40 Tip

Ch. 41 Pearl Eye

Ch. 42 Leather Bolster and Grips

• Leather Bolster
• Grips - Metal Wire or Plastic Wrap

Ch. 43 Bow Cracks

• End Bushing
• Head Spline

INSTRUMENT REPAIRS
Ch. 44 Reasons that Strings Break

Ch. 45 Buzzes

Ch. 46 Removal of Top and Bassbar

• Removal of Top
• Bassbar

Ch. 47 New Wood on Edge

Ch. 48 Instrument Cracks

Body Cracks

• Top or Back Cracks

• Sound Post Cracks
• Rib Cracks

Neck and Scroll Cracks

• Boxwood Bushings
• Spiral Bushings
• Cheek Repairs
• Heel Cracks
• Neck Grafts

Ch. 49 Raising the Neck Angle

Ch. 50 Button Graft and Doubling

• Button Graft
• Doubling

Ch. 51 Warped Fingerboard or Neck

Ch. 52 Clean and Polish

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• French Polish

Ch. 53 Peg Problems

• Some Reasons Pegs Slip

• Some Reasons Pegs Stick

Ch. 54 Touch Up

Ch. 55 End Pin Shim and Raising the Saddle

Appendix 1 – Tools and Materials (in the order they are needed)

• Alphabetical Index of Tools and Materials

Appendix 2 – Suppliers of Tools and Materials

Appendix 3 – Measurements for Violin Makers

Appendix 4 - Patterns and Arching Templates

Appendix 5 – General File Information

About the Author

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PART I - VIOLIN MAKING

GETTING READY
Ch. 1 - Workshop
You will need a good workbench with a decent woodworker’s bench vise. You will
frequently need to hold items securely so that you have both hands free to work. Many of
the commercially available woodworker’s benches, like this one from Harbor Freight, (Fig.
1.1) are sufficient, even the low cost ones. At minimum the workbench should have an
“end vise” with moveable bench dogs, like the one pictured, for different size clamping. A
front vise is nice but not
necessary. This needs to be a
woodworking vise made with
wood jaws - clamping metal pipe
or other non-wood items in the
jaws can damage the bench. If
doing metal working, get an
appropriate vise for that, clamp
it down elsewhere. A standard
metal vise is not proper or very
useful in violin making.

It is possible to add a metal

jawed "woodworker's vise" to a
Figure 1.1
bench and then add wood jaws
to it. Some vises even come with a pop up bench dog. This type of vise can function
acceptably, if you don't get one that is too cheap. I find that the vises around $20 or so will
just give you a headache. The threads of the screw and the diameter of the screw are too
cheaply made. If you are going to make a bench, be sure to get the vise first, so that you
can plan the design for the thickness and undercarriage based on the needs of the vise.

The bench should be about 4’ long by 2’ wide. The height is up to the woodworker
but keep in mind that you will be standing for some of your work, so don’t get one that is
too low or else be sure to raise it up to a good working height. My current bench was a
narrow and low height commercial one that I purchased "used", cheaply. I added wood to
in the back and raised its height. The point I am making is that you don’t need a bench
that is perfectly ready to go, the important part is that it has a good end vise with bench
dogs at least near the front. Height is critical for comfort, I am 6’ and for me a bench height
of 38” is perfect. If you want, you can also make your own custom bench, vise hardware is
available for this purpose.

The bench should be affixed to the wall as well as the top of the bench securely
fastened to the legs so that it cannot move, on many commercially made benches, the top
is just set on top of the legs on pins. You will, at times, be using a fair amount of energy in
carving the wood and you do not want things moving when using very sharp tools.

You also need a comfortable task chair, sometimes referred to as a Drafting Chair,
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that is adjustable in height, if using the workbench for both standing and sitting purposes.
If you have the space, you can use the workbench for all of the standing work and then use
a desk or sturdy desk height table and standard desk height chair for all of the sitting jobs,
but use a chair without arms as they will be in the way. This is what I used in school, but
when I had my own shop I used the workbench for standing and sitting, easier than moving
tools and materials back and forth all the time. Large benches with dogs and vises are
expensive, so at school all of the students had a smaller non-vise space for much of the
work and shared the vise benches for the standing position jobs.

In addition to a good sturdy bench and chair, you will need good lighting, both
general and positional. I prefer for my general lighting to use both actual daylight and
daylight fluorescent bulbs. For directional light, I like a swing arm task light like those
used by draftsmen. These types of adjustable position lights usually come with a clamp to
affix to the edge of a table. However, I find the clamp to be inadequate because it can’t be
made tight enough or usually doesn't open large enough to use on a work bench. What does
works well is to get a suitable diameter steel pipe flange and pipe nipple (at least 2” long)
that you can assemble and screw down to the bench. Positioning an additional pipe nipple
and flange somewhere else on the bench will give great versatility. Usually about 4-6“ away
from the wall works well. Use a 75-100 Watt equivalent LED or CFL bulb as they don't get
hot. (You need direct sunlight or at least regular incandescent bulbs for touch up).

For some procedures, like scraping the wood smooth, you will need to be able to remove all
light sources except for the
directional swing arm lamp. So
get some heavy black cloth or
black out blinds to cover any
windows. Natural light is great for
varnish work, but makes final
scraping difficult.

After retiring and selling my violin

shop, I still wanted to dabble in
violin making. Fig. 1.2 shows a
simple small shop area that I set
up in my garage, complete with
band saw, drill press, disk sander,
grinder and buffing wheel. Not
Figure 1.2 pictured is a cabinet with some
storage shelves for odd tools and
supplies. As you can see, the space needed is not that big. A space the size of a small
bedroom is certainly sufficient, and if you decide to forgo the band saw and drill press, a
small corner might work just as well.

You will be using sharp tools and care must always be taken when using them. A
super sharp tool will require much less force to carve the wood and is much safer in the long
run. Creating that sharp edge is something that will require a lot of practice and a steady
hand. You should have a safe place to store your edge tools, either a tool box lined with
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cork or separate compartments, or a wall cabinet where each tool can have its own space.
However you store them, they should not be placed where the sharp edges will bang up
against other metal tools. As the edge tools are made from steel, they are susceptible to
rust and corrosion. If you live in a high humidity environment, hanging the tools in the open
air is inviting rust. I find a tool box lined with rust prevention liners works well to prevent
rust. Unlike regular workshop tools that can be coated with oil when stored, oil needs to be
avoided on all of your edge tools as oil that gets on wood turns dark and may never come
out ruining your work.

For putting an edge on your tools, a grinder will be needed to shape the edge and to
get it close so that a final edge can be sharpened (honed). The standard motorized grinder
that most hardware stores carry is insufficient to put this fine edge on hand tools and
especially on scrapers. They run at too high a speed (3750 rpm) and will burn the edge of
your tools causing the edge to fail and make regrinding necessary.

A slow speed grinder is available from Woodcraft Supply and some other sources. I
prefer using a bench mandrel with a motor connected via a “V” belt (Fig. 1.3). The
maximum speed should be 1125 rpm.
Some violin makers prefer a hand
operated grinder for even a slower speed
to prepare the edge on their tools for
honing.

I use a two speed motor (1750

and 1125 rpm), that way I can switch
between slow grinding for edge tools and
rough grinding when making tools. You
should be able to see in the picture, the
switch to the left for going between
speeds, the motor under the bench
attached by a V belt, and the fully
Figure 1.3
adjustable tool rest with the enlarged top
surface.

If the grinding wheel runs too slowly or is too large in diameter, it may be difficult to
keep the tool (especially scrapers) from riding up on the wheel, making it difficult to keep a
single angled grind. In addition, if the wheel is too large in diameter, the grind won't be as
deep, making the hollow disappear more quickly when sharpening. I use an 8" diameter
Aluminum Oxide wheel.

Some woodworkers, including violin makers, prefer a newer style of grinder where
the stone turns horizontally, whereas I prefer the vertical stone as it provides a hollow grind
which is described more later. In addition to the grinder, some type of tool rest, several
water type sharpening stones and a leather strop will be needed. A buffing wheel may
also be useful but not necessary. A good sharpening and grinding system will make it
possible to create cutting tools with very fine edges, and that will make the work easier as
well as safer.
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CH. 2 - Sharpening
Some of the edge tools you purchase will already come sharpened, while others will
need to be ground and honed before they can be used. In some cases even the angle of the
bevel as it was done in the factory will be incorrect for our needs. I prefer to put a hollow
grind on the edge of my tools. To maintain the same angle all the time, a quality tool rest
will be needed. A hollow grind is where the curve of the grinding wheel spins against the
blade leaving a curve that matches that of the wheel. The larger the stone's diameter, the
flatter the hollow grind and the faster that hollow will disappear while honing. For many of
our tools, a bevel is at the proper angle if the length of the bevel is at least 3 times the
thickness of the tool. This works for double-bevel knives, scrapers, chisels and gouges.
Knives used for fine work on soft wood like soundposts or “f” hole cutting, can have even
longer bevels. Even with the slower grinder speed, it is a good idea to keep the blade cool
by dunking it in water after several passes on the wheel. On chisels and plane blades, make
sure that the ground edge is perpendicular to the side edges of the tool. Continue grinding
until the hollow reaches all the way to the edge and use only light pressure against the
wheel. While grinding, check the look of the grind to make sure that you only have a single
grind. This makes sure that you aren't changing pressure or the tool isn't riding up on the
wheel.

When using sharpening stones on a single bevel tool like a chisel or plane blade, the
tool is first placed on its flat side, and using water as a lubricant, the tool is rubbed back
and forth to make sure that the steel is extremely flat. Then it is placed on the stone so that
the ground edge with the hollow grind is sitting flat on the stone. The tool is then moved
back and forth on the stone so that the two ends of the hollow touch the stone. Some
people use a honing guide to hold the plane blade, although it takes some time to set up
correctly. I find that if you hollow grind the edge this is not necessary. You always finish
the tool movement across the stone so that you are pulling back away from the sharp edge,
so that the last swipe is not into the stone. This keeps the slurry (fine metal and water
mixture removed during the process) from being driven under the blade causing small
imperfections in the edge.

Alternate between the flat side of the tool (Fig. 2.1), and the ground edge (Fig.
2.2). Sharpening stones should always
be water stones and not oil stones. This
way you won’t leave any oil/metal on the
wood that you are working which can
turn the wood black. You should also
occasionally rub the rough stone against
the smooth stone to keep them both flat.
Figure 2.1 Figure 2.2 They make special stones for this but I
don’t find them necessary. If you also
get a fine diamond stone, which I do like for the initial honing, this works great to keep your
water stones flat.

When setting up the angle to grind, an angle sharpening guide can be roughly useful,
but the best way is to lightly touch the blade to the turning stone. You can even turn the
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stone slowly by hand to put some light scratches in the steel. If you first blacken the steel in
the sharpening area, the location of where the wheel is hitting will be immediately seen. A
special machinists “bluing” material is available but a black Sharpie marker works as well,
and much cheaper. Start checking the angle with it hitting further away from the thin edge
so that you don’t damage it, making small adjustments of the tool rest until you are hitting
the middle of the grind.

Curved blades, like those on round bottom finger planes, are harder to grind and
sharpen, but the basic idea is the same. On gouges, it becomes even harder as the blade
itself has a curve in two directions. For curved end tools,
the blade must be rotated against the wheel or stone so
that the bevel remains the same length from point to point
even though the blade is curved. Unlike a chisel, which is
pushed straight across the wheel while being held at the
same angle all the time and held flat against the tool rest,
the curved edge tool must be rotated possibly in two
directions while grinding. If pushed straight across like the
chisel, the ends will not be beveled and thus will be very Figure 2.3
thick and fairly useless. (Fig. 2.3)

On curved end tools, like gouges, they are rotated so that when the grind is started
on the left side of the tool, the tool's handle is angled to the left, on the right side towards
the right.

In addition to rotating the tool from end to end, it needs to be rotated side to side
always keeping the area that is against the wheel as flat as possible on the tool rest. Place
the gouge flat down on the tool rest. Place one hand near the gouge's tip holding the gouge
down with the thumb pressing down in the center of the gouge. The other hand should be
on the handle where it joins the blade, or by the end of the grinder tool rest. If you hold the
tool too far down on the handle, you will risk weighing it down and levering the tool up and
changing the angle of the grind. As you grind, swing the handle in an arc side to side,
keeping the nose in continuous contact with the wheel. At the same time as you swing the
gouge, roll the tip toward the direction of the swing. At the center of the swing, the tool
should be back to a straight right angle to the wheel. Continue the swing through to the
other side of the tool rest and rotate the gouge to that side. Ideally, you can start at one
end and swing the tool entirely through the motion to the other end without interruption or
stopping. This is difficult to do because of the length of the gouge and the body positions
involved. Practice the motion several times without actually grinding. By doing this, you will
find the best grips and body positions to complete the whole motion. I recommend
becoming proficient sharpening chisels or plane blades before you try something as difficult
as a gouge.

Whenever grinding, care must be taken not to let the steel heat up. If the steel
starts to turn a blackish-blue color starts, the steel's temper has been altered. This causes
the edge to easily chip and will need to be reground to remove the bad area. To assist you
in preventing this, have a cup of water at the ready to dunk the tool into to cool it down.
The thinner the steel, the easier it is to burn. The slower the grinding wheel speed, the
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lesser the chance to burn the steel.

A lot can be learned by doing and seeing the result. A good tool rest is an absolute
essential. Some grinders come with a tool rest that may be adequate or can be altered to
work better, but usually they are inadequately small or not adjustable enough. You can
make your own or high quality ones are available, I like the one that is made by Veritas.
When using the tool rest, be aware that if the tool changes thickness while on the rest, the
angle of the grind will change. This happens specifically when doing gouges, since the
amount of tool/handle on the rest is the least at the straight on position, but increases at
the ends of the arc. Down by the handle, the gouge often gets bigger and thus will change
the grind if allowed to ride up on this change in thickness. Some handmade knives aren't
very flat on their sides, making them difficult to grind. There are some accessories available
for the Veritas rest that makes some processes easier. I made a removable extended tool
rest platform for my Veritas for ease of sharpening knives that are difficult to hold to the
same angle all the time when using a short rest platform.

When sharpening gouges, the same method applies, alternate between the back and
ground areas of the tool. Doing a figure 8 on the stone works well to keep the angle
constant while hitting the edge all the way across. For an in-cannel gouge, a curved stone
that is held in the hand is available. Frequent checks to see how you are progressing is a
must.

When sharpening scrapers, in order to hold the thin metal on the sharpening stone
while protecting your fingers, use some double stick tape to attach a block of wood to the
surface of the scraper.

Once you have a keen edge on the tool, you can finish it off on the leather strop,
always making your swipe with the sharp edge pulling away from the leather. I prefer a
strop that is attached to a wooden block rather than one that is flexible like the old time
barber's strop, this prevents too much rounding over. My strop has two leather pads, one
smooth and one rough. They were both made from an old plain leather belt that was glued
to a wooden base. The rough side was made using 40 grit sanding belt material.

When using the strop, use a slightly steeper angle, creating a micro bevel (shown
exaggerated) which makes it both sharper
and makes the edge last longer (Fig. 2.4). A
stropping compound can be applied for a
smoother job. Flexcut Gold Stropping
Compound works well. You can also buy the
strop and compound in a kit from Flexcut. It
should only take a few strokes on each side
that is beveled.

A buffing wheel can also be used but

will round the edge more. It can still make a
nice edge, especially on the harder to
sharpen in-cannel gouges which require a
Figure 2.4
 2-4

round edged stone held in the hand.

To use the strop, place it between the bench dogs or clamped in the vise if you used
a thick enough piece of wood. Rub the Flexcut all over the surface of the leather. Then put a
line of Sharpie marker on the edge/edges of the blade so you can see your progress. Place
the blade on the strop and use it like you would a sharpening stone, finishing as above in
Fig. 2.4.

An additional way to put a fine edge on a gouge is to use metal polish such as Maas.
Take a soft block of wood and carve the convex and concave shapes of the tool. Then apply
some of the metal polish and rub it back and forth like you were using a sharpening stone.

There are a number of very good sharpening books on the market so I won’t get into
this subject any further.
 3-1

Ch. 3 - Body Pattern, Template and Form

The first thing you will need is a pattern of the instrument that you will be making.
From that pattern, a rib (body) template
(Fig. 3.1) must be made. Some of the
templates commercially available are not
the outline that is needed in the style of
construction that I use. What you want is a
template that follows the inside of the rib
line, not the outside of the violin plate.
Figure 3.1 However an inside template can be made
from an outside shape template or even from an existing violin.

There are two schools of violin making forms, the inside (Fig. 3.2) and the outside
form. (Fig. 3.3).

Figure 3.2 Figure 3.3

The outside form, sometimes referred to as the French Form, goes on the outside of
the ribs; this style allows the maker to completely finish the inside of the ribs while the form
is still attached. This form however makes it much more difficult to get both halves of the
instrument to be perfectly symmetrical, as the points of the rib's corners are pushed into
the form where they may change shape when the blocks are clamped. One corner may end
up higher than the other or at a different angle altogether. The inside form does allow for a
shorter time period that the form is used, making it available to start another instrument,
but at the same time this allows for the ribs to possibly change shape more readily. I made
my first three instruments with the outside form and the end result was far from ideal,
having problems as stated above. When looking at an older instrument, the points of the
corners can often be analyzed to see what type of form was used.

The inside form, however, stays inside the instrument until near the end of the
making process and allows you to perfect the outer, thus more important, part of the rib
assembly. It also allows for perfect symmetry to be obtained. Most professional makers
today use the inside form. The linings do need to be finished after the form is removed,
unlike the outside form.

The template that is needed for the inside form is the shape of the inside of the ribs.
 3-2

So how do you obtain this pattern? You can purchase a rib outline template, or you can
choose a violin that you like the shape of and make a pattern and then a template off of
that instrument, or you can make one from a template that is of the full outside outline.

To adjust a full outline template or pattern into an inside template, you will need to
measure in from the edge, marking it and then reducing its size to what is needed for the
inside template. The amount to be trimmed will be based on the overhang of the top or
back plate past the rib, plus the thickness of the rib. This is usually a total of 3.3-3.8 mm.
Only a half template is needed, so the center line of the full pattern needs to be determined.
To do this, find the exact center of the upper and lower bout width’s and draw a center line.
An extra amount (1/2”) is needed on the side of the center line (for positioning on the
form), but be sure to maintain a visible center line. (Fig. 3.1)

If working from a full paper outline, use rubber cement or spray adhesive to attach
the paper outline to the template material. Then mark the template material with the inside
form line. Cut it out and smooth it to the finished shape. Be sure to leave 1/2" additional
material on the other side of the center line. Files will be helpful at this stage, both flat and
half round ones designed to be used for metal (a smooth single cut). If you want to keep a
paper pattern that you purchased, a push pin can be used to prick small holes through the
paper onto the template material; this works especially well with thin plywood.

To reduce the outer outline to the inner rib outline that we need, a simple marking
gauge can be made by drilling and inserting two nails into a piece of wood, one thicker and
one thinner with the thinner one's point being the scribe for marking (Fig. 3.4). The thick
nail follows the outer line of the
template, while the thin nail scribes a
line on the template at the desired new
position. Another way is to purchase an
adjustable even leg divider, set to the
distance required and thus marking the
template. Once scribed onto the template
is then trimmed to that line using the
appropriate tools for the template
material. If the template material is
Figure 3.4
metal, be careful when trimming using
metal shears as it may distort the template. A fine-tooth metal cutting blades in a coping
saw works best for this.

NOTE: For those who do not want to make their own template and forms, one may be
obtained from Howard Core & Co. (see Appendix 2) in Alabama. They sell this style of
template in a Guarneri and a Stradivari model – the most popular models. They also sell
the form that matches, as well as “f” hole and scroll/neck templates. International Violin
Company in Baltimore also sells a set complete with "f", scroll and arching templates. Given
the time involved in making templates and forms, unless you have a great desire to use a
specific outline, the money will be well spent purchasing an already completed set. There is
no need to reinvent the wheel, so to speak. However, for violas and cellos, making your
own templates and forms will be necessary, as they are not readily available and violas
 3-3

come in so many different sizes and shapes.

Making a template of an existing violin is about the same. You will first need to trace
the outline of the instrument on paper. Because of the rounded shape of the violin back, this
is a little more difficult than it sounds. First obtain a big enough piece of heavy duty paper
(not cardboard), and then make some slits in it with a knife or scissors. Cut a center slit
and another slit at each upper, center, and lower bout. Cut the center slit, but only within
1” of the edge of the pattern. Then cut 6 slits starting from the
center slit, one towards the center of each bout. These slits will allow
the paper to conform to the instrument's shape and not distort. Then
place the instrument onto the paper resting on some thick towels or
an instrument cradle (if you have one yet). (Fig. 3.5) Using a soft
pencil trace the instrument.

Measuring across the widest portion of the upper and lower

bouts, mark the center line. Cut out the outline, (you will only be
using half of the violin outline.) Then glue the paper pattern to your
template material. Proceed as above for cutting out and downsizing
the template to the inside of the rib shape, also leaving the 1/2"
center overhang. Another way to make a pattern of an existing
violin is to take a photograph of the back plate taken straight on Figure 3.5
from a distance of at least 4' so there is little to no distortion. Then print the pattern out
until you have it at the same size as your model. This, of course, would require the ability
to print in large format or cut and paste 2 pages together accurately. If you purchase one of
those full- size posters of a violin, like from the Strad Magazine, they often will have full-
size outlines on the back. As mentioned above, you can use a sharp pin to poke little holes
through the poster onto your template material.

Once cut out, check the pattern carefully to make sure that there are no bumps or
flat areas, as this will show up on the finished design. This outline will need to be traced
onto the template material; I prefer metal (zinc - about .022-.024 thick, a little thinner for
scroll templates but don't use for "f" templates) or vinyl (like that used in hardware store
“For Sale” signs). Zinc is especially good as it won't chip or shrink and if it gets a dent in the
edge, you can hammer it out. I know of one maker that uses Formica counter top material;
I find it to be too easily chipped especially if you will be using it over and over again.
Formica has one advantage; you can usually find a lifetime supply in the trash bin outside
cabinet shops. Even very thin model maker's plywood can be used.

The widths for the blocks are measured and marked (see Appendix 3 for
measurements) on the template and will be transferred to the form later. A small hole
drilled at the inside of the block corners will suffice. The block locations need to be left intact
on the template so that the shape of the ribs can be transferred to the tops of the blocks.
The center line of the template will be used later to keep track of the center so the ribs can
be placed correctly on the form. Once the template is finished, the pin (registration) holes
are then drilled on the center line (the reason for the extra material). These holes (the same
size as whatever you will be using as pins) are drilled on the center line about 1½” - 2” in
from the ends (see Fig. 3.1 - ignore the large holes closer to the center as these were
 3-4

already in the plastic material and have no use.) These holes will be the centering pin
holes. Choose your pins before drilling the holes so that the appropriate size drill bit can be
used. Pins are used so that the template can be flipped over so that both sides of the form
(and thus the resulting instrument) are symmetrical. The pins should fit snugly in the
template holes, but not too tight as they need to be removed. (See Fig. 5.5 to see the pins
in the finished form.

When the template is ready, you need a suitable piece of plywood (1/2” thick for
violin, ¾” for viola). The plywood needs to be double the width of the template and as long
as the template's length. Set the template on one side of the plywood, mark the pin holes
and drill into the plywood. Whatever type of pins you selected, use the closest size drill bit
so that the pins will be snug in the form (they should not wiggle in the hole). The pins
should be just tall enough so that they are above the block height on the top side of the
form (about 12 mm above the form). The pins can be flush to the bottom of the form.

It is best, when drilling the holes in the form, if this can be done on a drill press (or
at least with assistance) to make sure that the holes are drilled perfectly perpendicular to
the plywood. After drilling the pin holes, insert the pins into the plywood and trace the
template onto the wood. Flip the template over and trace the other side onto the wood
(trace first with a sharp pencil and then with a sharp point). Once the template if fully
traced onto the plywood, cut out the completed shape. To cut out the form, a band saw is
best, but a coping saw can also be used. Take extra care to keep the cut perpendicular to
the plywood face.

Use a flat file and half round file (double cut) and a 3” square to bring the form
down to the marked shape. A larger standard hardware store square can be used, but a
small square will be much easier to use on the ribs and blocks and will come in very handy
later on when a larger one will just make your job more difficult. File the form down to the
shape of the template, making sure that it is very square, again any mistakes – hills or
valleys, will be amplified once the ribs are bent to shape. See Appendix 5 for some general
file information. If you cut in too low, wood veneer can be glued to the surface and filed
down. (Don't use the iron-on type edge veneer as the glue is too thick, plain veneer works
well).

The block areas on the form must also be cut out. Mark the plywood using the pin
hole marks made in the template previously. Cut
out the block areas keeping the surfaces square.
The sides of the block cutouts need to be
perpendicular so that later the block will slide out
of the form and not get pinched. The blocks can
either be larger ones that form a right angle with
one line parallel to the center line, or a smaller
version where the cutout’s longest line is
equidistance from the two ends. (Fig 3.6). The
larger block style might be easier for the novice as
it gives more room for error and some additional

Figure 3.6
 3-5

space when learning how to inlay the linings.

The center area of the form needs to be sawn out (Fig. 3.7) so that clamps may be
used to clamp the ribs in place. Some
people just drill holes but it is harder to
figure out where they are needed. The
opening should be wide enough so that
two clamp heads (bar clamps) can be
placed opposite each other, but not so
wide that the form is weakened; an area
2 ½” x 9” works well for violin. Because
this cut out is in the center of the form, a
hole will need to be drilled first so that a
saw blade can be inserted to get to the
center. A jig saw or coping saw works Figure 3.7
best.

Once the form is completed and exactly the same as the template, the edges of the
form need to be sealed with glue. For this step I prefer the standard hot hide glue (sealing
with shellac or coating with thin white glue also works). For all things that require gluing,
use hide glue unless otherwise noted. When finished, mark the form and template with the
design name and size (ie., Strad 1731 or Amati 16 1/2"). The block areas of the form
should be numbered 1-6 so that you don’t mix up the blocks while fitting.

If you are planning on making many instruments on the same pattern, it is a good
idea to make a collapsible form, see the Linings chapter for more details on making one.
 4-1

Ch. 4 - Making and Using Hide Glue

Hide glue is the type of glue that has been used in violin making for 500 years and
its origins date back to at least 2000 BC. No better glue has been found that is as flexible,
relatively permanent as well as reversible, and able to create such a “no glue line joint” as
Hide Glue. It is made from the hooves and hide scrapings of horses. Other types of animal
glues can be used, like rabbit or fish, but hide glue is still the most used and respected as
well as most widely available.

Hide glue comes in flake, pearl, and granulated forms. I have used many different
kinds and I suggest that you purchase it from a violin supply company so the proper
strength will be supplied - typically in the 120-200-gram strength.

NOTE: Cold liquid hide glue is available at hardware stores and this should not be used -
ever. It contains Formaldehyde which is great for shelf life, but takes forever to cure hard
enough to be used in violin making. One time I glued a top on with it for a repair and then
tuned up the instrument the next day. Two days later, the top had “Slid” towards the
tailpiece almost ½” while still remaining “glued” to the ribs (this is called "creep"). This cold
version is also dark brown in color, too thick and will create a visible layer of glue that does
not really penetrate the wood fibers and will not allow varnish to penetrate properly.

Heated hide glue creates an almost invisible joint and a repair that can be reversed
later if need be.

The glue needs to be warmed in a double boiler, which is basically a two-part heater
with a water jacket. Electric glue pots are available but are a little pricey. However, if you
will be using it for many hours every day, it is an essential tool. No matter if you use a large
commercial one, or just a very small pan, you shouldn't make more than you will use in a
few days. I like to use a small jar (glass) like the kind that baby food used to always come
in so that small amounts can be made without wasting the glue. You don’t need a tight lid,
just one that can be placed loosely on top so that
the water in the glue does not evaporate too fast.

The electric pot is too big unless you are

using it for serious production work. Even in my
full-time repair shop, we still used the jar inside the
pot since glue can go bad in only a few days. Place
about ¼” - ½” of water in the jar and add about a
tablespoon of dry glue. This amount should be
enough for any individual job on the violin. Let the
cold glue/water mixture “gel” before heating. Then
the glue should be allowed to warm up to about
140-160° and should be kept covered. A baking
thermometer or digital meat thermometer works
well but over time, you will be able to tell at a
glance when it is ready. A ¼” glue brush and an Figure 4.1
artist’s spatula are useful for different gluing
operations.
 4-2

The glue/water mixture is heated and thinned or thickened until it is the consistency
of a thick soup broth (no lumps). If too thick (like honey) it will form too much of a
thickness on the joint; if too thin (like bullion) it will penetrate too easily and make the joint
too weak. To test its strength, you can place a drop of glue between your thumb and first
finger while pulling your fingers apart and putting them together to see how long it takes for
them to “stick” together (Fig. 4.1). It should take somewhere between 10-20 seconds to
tack up.

Some general guidelines:

1. Dry hide glue should be dissolved in clean room temperature water for 10 minutes or so
until fully dissolved into a gel like form. The glue should be added slowly to the water and
stirred to avoid clumps.

2. Then heat the glue in the double boiler to 140-160° but do not allow the temperature to
rise above 185F. DO NOT BOIL, excessive heat will deteriorate the glue to a point where the
adhesiveness and general strength will be compromised.

3. Only make up enough glue for one to two days of work. If more is needed, make sure
that the additional glue has been properly soaked before adding to the glue solution. I
would not reheat glue more than 3 or 4 times before making new from scratch. Always
make fresh glue for the most important joints, like those of the top and back center seams.
If you want to make a batch of glue up ahead of time, you can mix it in a ice cube tray and
freeze the glue. The cubes of hide glue can be kept in the freezer until you need them, but
“melt” the gluecicle on first, the add it to the heated pot.

4. Use clean water for soaking glue; otherwise bacteria may be present. While tap water
can be used, I prefer either distilled or water that has been boiled so that impurities or
additives are removed.

5. When the heated glue starts to get darker in color or starts to smell odd, it is also getting
weaker.

6. Glue that has cooled and has sat for more than a couple days or so will start to form
bacteria and should not be used. Be sure to clean out the inner pot or jar after dumping the
old batch so that bacteria will not get into the new glue.

If a glue has been put on a seam or other job and the parts do not line up, heat the
parts while the glue has yet to set with a hot air gun, alcohol lamp to separate the parts. or
Warm water can also be used, but it may swell the wood and a refit may be necessary.
 5-1

BUILDING THE INSTRUMENT

Rib Assembly or Garland
Ch. 5 - Blocks
The blocks should be made from Spruce, Willow or Basswood and are best when
split from a larger piece so that you know the grain is very straight and will end up being
perpendicular to the top and back of the instrument. Stradivari favored Willow while
Guarneri liked Spruce. I prefer Willow as it is very light weight, straight grained and the
summer growth rings are not stiff like Spruce. This makes Willow (and Basswood) easier to
plane (and carve) as the plane chatters less across the grain. Basswood seems, however, to
be easier to find. Rough hewn wood as you receive it needs to be split unless you can see
that this has already been done. You can purchase a special splitting blade (froe) made for
this purpose from a woodworker’s store, but I just like the old style of table knife that has
a long, wide, stiff blade. These are easily found in antique stores or your own kitchen
drawer.

Using a hammer and the splitting knife, split the wood (Fig. 5.1) starting with the
end grain facing up, making sure to leave plenty of
extra width for trimming. Unless you already know
how the wood grain runs, start off with a piece
that is also considerably thicker than you will need,
as it may split angled from the way it was cut and
straightening out this angle will use up some
considerable height. I would use wood that is 1cm
thicker than the end result – so start with material
Figure 5.1 that is about 40-42mm thick. Split the wood both
parallel and perpendicular to the grain (not across the end grain). Once split, check the end
grain, it should be roughly perpendicular to these splits.

The end grain will be what the top and back are glued to. This is done for a number
of reasons. Gluing the plates to the end grain is
an easier bond to break; when removing the top
or back later for repairs, this glue joint will not
split out. Also, when trimming the blocks down,
after they are attached to the ribs, the wood will
split easily under the chisel or gouge. Because of
the need for a decent bond, but not permanent
bond, wood such as Cedar is not a good choice as
it has too much oil content. It has successfully
been used by some for tops.

The blocks need to have a rough height of

33mm at this point. If you needed to start off with
a higher block of wood, wait to trim it down until
after the base of the block is flattened.

Figure 5.2
 5-2

Layout the wood so that the grain follows that as seen in Fig. 5.2. The corner blocks
will have the grain going towards the point and the end blocks have the grain parallel to the
center line of the instrument. This is
important so that when trimmed, the tips of
the corner blocks are stiff and the neck block
will carve easily for neck fitting later. Leave
about 5mm extra width for each block,
especially the corner blocks.

Once split, you will use the block

plane to surface the wood (Fig. 5.3). A disk
or stationary belt sander can be used but they
are not as accurate and it is easy to get well
off of square or round the surface before you
realize it. You also don't want to use
Figure 5.3 sandpaper before using any edge tools as the
sand particles can be embedded in the wood
grain and then dull your edge very quickly.

The block can be held firmly in the hand, tight to the chest - keeping the arm and
wrist from moving, or by holding the block up against the edge of the bench. The blocks
should be planed and squared in the following order. (Fig. 5.2) Starting with the side that
will be glued to the form (a), plane this surface flat using the block plane and checking for
flatness using the engineer’s square. Next, plane one adjacent side (b) also making sure
that it is square (90°) to (a) and parallel to the grain. The third side to plane will be (c) -
the bottom which needs to be square to both (a) and (b). When planing the end grain, you
will want very little blade protruding and wetting the wood slightly can help.

Lastly, for now, plane the other (d) adjacent side to (a), also bringing it down to
final width to fit into the form – snug, but not tight,
and perpendicular to (a) and (c). Be sure to leave
extra block wood beyond the form so that you can
later trim as needed. You can place the template on
the pins and see where the ribs will be, so that you
will know approximately how much excess wood to
leave.

After all of the blocks have been planed and

squared up it is time to cut them to height. The
violin is slightly tapered from lower to upper block
with the neck area being slightly thinner. Use a
metric ruler and the square to mark off the block
heights. Measure up from the bottom of the blocks
and using the square, mark a line on sides a, b and
d. Trim to this line using a backsaw or Japanese Figure 5.4
saw (Fig. 5.4). A band saw will also work, be extra
careful not to cut too much. I use a plastic cutting board so that I don't damage the bench,
 5-3

a scrap piece of wood will also work.

Cut the blocks to these heights: Upper – 31 mm, Center - 31.5 mm, Lower – 32 mm

To glue the blocks (temporarily) to the form, we need to lift the form up so that it is
basically in the center of the ribs and
high enough so that we have clearance to
glue in the lower linings. To do this, we
make wooden stilts. These are 2 narrow
strips of wood, 9mm in height. (Fig 5.5)
If you make the other dimension 11mm,
then they can also be used for making
violas. The stilts need to be long enough
so that the form is lifted and is stable.
This need to be made from very dry and
stable wood so they don't warp.

Figure 5.5
Another way to do this is to insert
4 screws into the bottom of the form, 1 in each upper and lower quadrant, and adjust them
until the 9mm height is obtained. There should be no wobble when correct; that is more
important than an exact 9mm height.

Before applying glue to the blocks, set the blocks in place and put a small pencil line
on the block (Fig. 5.6) on side (a), where the top of the form
hits the block. This will give you a guide as to where to place
the glue. Place a stripe of glue, not the full width of the recess
in the form, on the block coming down from the pencil line the
thickness (approx.) of the form. Press the block firmly into the
form, repeat for all 6 blocks. Be sure that you only put glue on
side (a) of the blocks; otherwise it could be very difficult to
remove the form from the rib assembly later on.

Once the glue is dry (wait at least 8 hours), take the

template and place it on the pins (Fig. 5.7). Trace the shape of
the ribs onto the tops of the blocks with a sharp pencil and
scribe. Flip the
template and mark
the other half. You
do not need to
mark the bottom of Figure 5.6
the blocks,
although one school teaches that. My issue with
that is if the pins are not perfectly square in the
form, the template will be off. Also be sure to
mark the center line on the upper and lower
Figure 5.7
 5-4

blocks.

At this point you will only

be trimming the inside of the “C”
bout rib blocks. The outer portion
of the corner blocks are left full so
that the points of the block are
stronger while we glue the “C” rib
in place. The two End Blocks can Figure 5.8
also be trimmed to the line at this
time.

Using a Block gouge, (which is an in-channel gouge with the grind on the inside),
and a ¾” or wider chisel for the end blocks,
remove wood from the blocks down to the line
(Fig. 5.8).

You can still see the entire line in Fig. 5.9,

which means you have a little way to go. Check
frequently with the engineer's square, placing the
block/form assembly, bottom side down, on a slab
of marble. A baker’s marble board works or go to
a marble counter top store and get a remnant. Be
sure to check out the marble in all directions with a
straight edge.

Figure 5.9
When cutting, I like to hold the form
parallel to the front of the bench and place
the bottom of the block I'm working on
against the side of the bench so that I can
use the chisel or gouge horizontally.

The curve of the “C” blocks should

be a smooth transition from the form, with
no bump. Use the block gouge to get as
close as possible and then finish with a
Crossing file. Figure 5.10
Check frequently to see if the block is square to the marble. Position the work light
so that you can see any gaps. You can see in Fig. 5.10 that the top of the block is still a
little proud, as you can see a little light at the bottom between the square and the block.
 5-5

There are two different sides to the crossing file; one is more curved than the other.
Use the side that fits the curve best. Sometimes
it works well to place the form vertically
between your legs, and then using both hands,
one on either side of the block while holding the
file, roll the file slightly on the block (Fig. 5.11).
This keeps even pressure on the entire block
and helps to prevent making a high spot in the
middle.

Once the blocks are trimmed and

perfectly square and flat from top to bottom,
take a small
Xacto style
knife, and
Figure 5.11
score a cross
hatch on the gluing surface of the block (Fig. 5.12). This
will help the glue to adhere better to the block.

Figure 5.12
 6-1

Ch. 6 - Ribs
For the ribs, you will need 3 pieces of Maple that are at least 40cm long x 35mm
high for a violin and a starting thickness of no less than 1.4-1.5mm. For the best look, the
Maple should match that of the back and neck, so it is best to purchase them together from
the same distributor. The rib wood is almost always cut from the same block of wood as the
back. Violin wood is special and should be purchased from a violin supply house, not some
lumber yard. This is discussed more later.

Take a bar clamp, and a small scrap of wood for padding, and clamp one rib down
to the workbench at one end.
If the bench is not relatively
flat, use a flat piece of wood,
like plywood, under the rib.
Using a very sharp block plane,
plane the surface smooth on
this side. (Fig. 6.1) You will
need to flip the rib around so
that you can plane the section
Figure 6.1 that is under the clamp. Be
careful not to plane the edges
or ends thinner than the rest of the rib. This is easy to do if you aren't paying attention. It
is also useful to plane at an angle to the flame and grain so that it will not cut into the curl.
On this first side, just plane any saw marks off, don’t try to thin the wood down.

Some Maple is very “flamed” or “figured”. This wood tends to tear or rip and either a
low angle block plane or a toothed blade for
the normal angle plane will be necessary. I
prefer to use the toothed blade to be safe as
the low angle plane can also rip into a highly-
flamed piece of wood. This special toothed
blade just replaces the standard blade and has
small teeth cut into it. The teeth will allow the
wood not to tear (Fig. 6.2) and the tooth lines
come out during scraping.

Before you start planing the other side

of the rib, you will need to use a scraper to
smooth the rib surface, regardless of whether
Figure 6.2
you used a toothed or flat blade. Once the first
side is scraped smooth, repeat the above steps on the other side. (See more about scrapers
and scraping in the next section.) If your wood was a little thin to begin with, you may end
up having to leave some tooth marks on the interior rib surface. On some old violins, you
can still see some remnants of these tooth marks on the inside surface of the ribs. See the
rib alignment section below to determine the inside and outside surfaces and grain
direction.
 6-2

Using a Cabinet Scraper and Burnisher

The scraper or cabinet maker’s scraper is a piece of stiff spring steel that just has a
little bit of spring to it. You can purchase a cabinet scraper from a woodworking company,
or you can get an assortment of blue tempered spring steel shim stock. A good set of
thicknesses is made by Precision and sold by Fastnal and others. Some hardware store
drywall taping knives are made from blue spring steel, although most are a little thin for this
type of scraper. A cabinet scraper will be on the thick side around .031 thick. The edge is
filed and honed flat at 90° to the side surfaces and a burnisher is used to curl a small hook
along the thin edge for the best cutting. Some makers will actually grind the edge at an
angle like a knife, but a very nice cutting burnisher can be done with the 90° edge and that
edge will last much longer if full thickness.

It is fairly typical to hold the burnisher at about a 10° angle to produce this hook.
Some people will just use a fine file on the edge and this in itself produces some curl to the
tools edge. However, it won’t leave as smooth a finished surface on the rib, as the scraper
gets fine teeth from the file. On the plus side, it is easier to redo the edge on the scraper.
It is possible to use the scraper without a burnished edge; however, fine shavings are not
produced, only a fine dust unless you have given it a curl. I do use the file method for my
rough Ebony scraper since the Ebony is so hard on cutting tools and the ease of getting the
scraper sharp this way will outweigh the disadvantages.

Place the scraper in the bench vise sticking up at a height to your choosing that is
the same as a scrap square block of wood. Use a permanent marker and blacken the edge
of the scraper. Place one end of a fine single cut file on the block and the other on the
scraper and file the edge pushing it back and forth at an angle across the blade until the
black line is gone. Repeat the procedure with a 1000 grit sharpening stone. Then finish up
with a very fine stone, at least 3000 grit.

Before applying a burr, the best result will come from taking the fine water stone to
both flat sides of the scraper until you get a clean edge. You don’t need to make the entire
scraper thinner until it is flat. To speed up the process, put a piece of tape on one of the
long edges of the water stone. When you are flattening the scraper, allow the opposite side
of the scraper that you are working on to ride on the tape. This will lift the scraper by the
thickness of the tape so that the scraper is raised just barely off of the stone, except for the
edge that is on the sharpened surface. By surfacing these sides, you will turn up a very
slight burr towards the sharpened edge in preparation for turning the burr.

Then you use the burnisher on the edge. Today there are round, oval or triangular
burnishers. I prefer a round or oval one, but the most important thing is that the burnisher
must be harder than the material the scraper is made of and not have any nicks in it. I have
seen people use other items as a burnisher, like a broken shaft of a router or drill bit, a
round shaft from a polished screwdriver shank or even the back of a gouge. It must
however be very smooth to prevent putting a nick in the blade.
 6-3

To put the burr on, you can use different methods.

A) You lay the scraper blade on the bench so that the side requiring the burr is overhanging
the edge of the bench, and you hold it firmly with one hand or clamp it down. You hold the
burnisher in the other hand with the handle below the edge of the bench and the steel of
the burnisher pointed up. You draw the burnisher from one end of the scraper to the other
end, while pressing it against the scrapers edge at a 5 - 15° angle. The pressure used
should not be too high, I like to use pressure just a little more than that used to butter
toast. You can run the burnisher over the steel several times to slowly turn over the edge;
using too much force may burnish the edge too much. The bigger the angle, the coarser the
cut. If you were to burnish at no angle, it
would still work but the shavings will be
mostly dust. You can test the edge between
each stroke of the burnisher to determine
when to stop. After some practice, you will
know how many times and how much
pressure to use.

If you want a nice crisp curl of wood,

so that you don’t have to work too hard,
curl the burr at a 10° angle. (This is what I
use and it produces a nice cut – Fig. 6.3.) If
the angle of the burr is too great, you will
need to hold the scraper at a steeper angle
to the wood, making it harder to control.

Figure 6.3
The drawing motion of the burnisher on the
scraper can be repeated as long as you always
do it in the same direction and at the same
angle. However, if you burnish it over too far,
you will have to start over. A little mineral
oil on the blade and burnisher can make the
two steels ride smoother against each other.
Be sure to clean the oil off before you use the
scraper on any wood.

B) Another method is to use the bench vice to

clamp the scraper (Fig. 6.4) and then to
proceed as above. You could even make a jig
Figure 6.4 so that you always used the same angle when
burnishing. This would be just a block of wood
with the angle cut on the top side; the scraper is then clamped into the bench so that the
top of the scraper is the same height as the high side of the block. With this method, you
can burnish both sides of the scraper, first by angling to one side, then moving the block to
the other side of the scraper and doing that side.
 6-4

To use the scraper, it is held in both hands with the thumbs behind the blade and the
1 and 2nd fingers in front, the 3rd and 4th fingers
st

can be in front or behind. A little bend can be put

into the scraper by pushing with the thumbs. This
allows you to control where you cut since the
blade's edge will have a very slight curve to it. The
more of a bend you put into the steel, the greater
the curve and the more specific a location can be
scraped. The scraper is held down to the wood
(Fig. 6.5) at an angle such that the top of the
scraper is further from you. This angle will be
determined by the best function of the scraper. It
is also best to hold the blade so that it is not
parallel to the rib’s flame (curl); this prevents the
scraper from riding up and down on the different
hardness parts of the flamed Maple. During the
final scraping, decrease the bend in the scraper so Figure 6.5
that the scraper is flat down across the rib, being
careful not to thin the rib at the edges.

NOTE: There is also a tool called a Scraper Plane, it has a thick blade set in at high angle
and the plane sits flat on the rib surface - a nice tool but expensive and not as controllable
as the cabinet scraper.

After the first side of the rib is

planed and scraped smooth, repeat this
procedure on the other side of the rib using
a thickness caliper to check the
dimensions until a final scraped and
smooth surface is obtained and a even
thickness of 1.1 - 1.2mm is achieved (Fig.
6.6).

A quality caliper is really a must

since you will need accuracy to .1mm. Do
not thin down the rib too far using the
Figure 6.6
toothed blade before switching to the
scraper, since the bottom of the teeth marks in the rib will be thinner wood that can’t be
measured. When possible, give yourself a few tenths of a millimeter to scrape the rib
smooth. Highly flamed rib wood needs to be thicker as the high curl in it makes for shorter
fibers thus allowing the wood to bend too quickly at this point with a tendency to snap, so
add an extra .1-.2 mm of thickness.

When the thickness of all three rib pieces are complete, the wood needs to be laid
out so that the flame runs in the same direction as that of the back wood. If the back is of
two pieces and the flame runs from the center down rather than straight across, the wood
for the ribs should also run down as in figure 6.7.
 6-5

Mark the wood so that you will know where the bottom edge of each piece will be. In
addition to the flame needing to be kept at the same
orientation, the grain may also, as some grain lines and
patterns are more pronounced than others. This can show up
very clearly after varnishing and just makes the instrument
look more amateurish. So if you flip a rib over to its other side
to change the flame direction, the grain will be off.

The ribs are then squared and trimmed to length and

height. Make a shooting board (Fig. 6.8), which is just a
couple of pieces of plywood off set from each other with a cross
piece at one end for the end of the rib to hit. Another strip or
two of wood are glued to the underside of the front to catch the
lip of the bench or just clamp the assembly into the vise. The
length should be long enough for the longest rib to run along.
Figure 6.7
The rib is held down to the surface of the shooting board with
the non-planing hand. Set the edge of the rib
overhanging the edge of the shooting board by a little
bit. If the bench surface is decently flat, it can act as

Figure 6.8
the bottom board (like in Fig. 6.9).

After aligning the flame and Figure 6.9

grain and thus determining which
edges will be the bottom, the rib is placed on the shooting board with this “bottom” edge
hanging over. Set the plane on its side and slide or “shoot” down the length of the rib
(hence the name shooting board), planing off a little at a time until the rib edge is smooth
and straight. Continued this until all of the rib pieces are flat on their bottom edge.

The ribs are then cut to length, allowing a little extra for later adjustments. For the
violin, you will need (two) of each of the following lengths:

Upper Bout - 18 cm (2)

Center Bout - 14 cm (2)

Lower Bout - 22 cm (2)

 6-6

Using the square and the 30cm ruler, lay out the rib pieces and draw perpendicular lines up
from the bottom of the ribs, adding an extra 2mm to each rib. Most rib wood is supplied in
3 lengths of about 40 cm. If they are at least 36cm, to get the most out of the wood the
pieces should be cut as follows.

Rib piece 1 – two upper ribs 18 + 18 = 36

Rib piece 2 – one center rib and one lower rib 14 + 22 = 36

Rib piece 3 – one center rib and one lower rib 14 + 22 = 36

If they are at least 42 cm long cut as follows:

Rib piece 1 – one lower rib and one upper rib 22 + 18 = 40

Rib piece 2 – one lower rib and one upper rib 22 + 18 = 40

Rib piece 3 – three center ribs 14 + 14 + 14 = 42

This works especially nice, since the center or “C” rib is the first and hardest to bend and
this will provide you with an extra piece just in case.

With the cut lines laid out, mark the bottom inside side of the rib with a pencil
stating which rib; i.e. treble or bass side and upper, lower or "C" bout. This will be very
handy when you begin to bend the wood. Cut the rib pieces using a fine tooth back saw
or hobby saw. A sharp Xacto style knife can also be used. Be careful not to split the wood at
the ends of the cuts. After the pieces are cut, go back over the ends of the “C” bout ribs
with the square and the block plane or fine file to get the ends square. When using the
block plane on the end grain of the ribs, it is best to place the rib edge up against
something, like with the shooting board, place the plane on its edge. The rib should not be
planed all the way from edge to edge or you might split out a piece at the end of the cut.
Plane the end of the rib first from one direction and then the other, checking frequently with
the square.

The 6 rib pieces now need to be planed down to height. Just like the blocks, the ribs
are tapered from lower to upper bout, and should get the same dimensions. Mark off the
heights and draw a line the entire length. Follow the same procedure as with the other rib
edge and using the shooting board; plane the rib down to the height below. Just don’t mix
up which is the top edge and which is the bottom edge; if you marked it in the earlier step
this shouldn’t become a problem.

Upper Ribs – 31 mm Center Ribs - 31.5 mm Lower Ribs – 32 mm

The final gradual taper will come later after all of the ribs are glued onto the blocks.

We are now ready to bend the “C” ribs. Although I like alternative and less expensive
tools if they will get the job done, this is one of those cases where, to get the proper
accuracy, it is much better, in the long run, to buy rather than trying to make a real
Bending Iron. The amateur will have enough difficulty bending ribs, an iron with a more
proper curve is also a godsend. The bending strap that comes with some of them,
however, is not very comfortable to use and making one from some scraps of Maple, a few
 6-7

screws and a piece of aluminum flashing is cheap, easy and much nicer to use. The flashing
should be wide and long enough that a viola rib will fit plus a little extra. Use a piece 45mm
x 450mm. So when buying the bending iron, if the strap is extra, just plan on making it
instead.

You will need to make a set of clamping blocks (Fig. 6.10) to clamp the ribs to the
corner and end blocks. Use the form template as a guide to make the proper curve blocks.
For ease, these can be made out of a medium soft wood that you can work easily. If you
will be making many instruments from the same pattern, these
could be made from Maple or some other hardwood, otherwise,
something like Basswood or Willow will work. Each set of the two
upper corner and two lower corner blocks can be made from one
double tall block and once the shape is completed, it can be cut in
half. The upper and lower clamping block need to be made
individually as the curves are very different. Lining the clamping
blocks with thin cork will help them conform to the rib if there are
small differences in the curve.

For the “C” rib clamping blocks (Fig. 6.11), a trapezoid

shape is used that will apply pressure to the ends of the rib,
forcing it tight
into the curve of
the form and up
against the corner
Figure 6.10 blocks. The edge
of the “C” clamping block is notched so that
more or less pressure can be applied as
necessary to the ends of the rib. This is the
only one we need at this step. The height of
Figure 6.11
the clamping block should be just slightly
higher than the rib.

If you have some extra rib wood, it isn’t a bad idea to do a practice bend on your
first attempt. Clamp the bending iron firmly to the bench; you will be using a fair amount of
pressure when bending so make sure it is very secure. Get the bending iron hot enough so
that when a drop of water is placed on the iron, the water drop quickly sizzles and
evaporates. If the drop jumps around on the iron, the temperature is too hot. On the other
hand, if the drop sits for several seconds before starting to evaporate, the iron is still too
cold. I like to use a spray bottle for wetting the wood and to spray on the iron to test the
temperature.
 7-1

CH. 7 - Bending and Gluing the Ribs

Some bending irons are designed for violin and viola ribs while others can also work
for cellos; there are also some that have
sizes for both. On irons that have a horn
or oval shape, different parts of the iron
are for different curves on the rib. You
need to use the curve that is closest to,
but smaller than, the shape to be bent.
This provides for the easiest bending since
a gentle rib curve is harder to do on a
tight bending iron curve.

Start first with the "C" ribs. Lightly

Figure 7.1 wet the side of the rib that will be placed
against the bending iron (check your
markings to see which side is the inside) and place the rib onto the bending strap (Fig. 7.1)
with the wet side exposed. (Don’t forget to have the bottom side down.) If you are using a
bending iron that is made from steel, it is best to use a protective strip between the rib and
the iron to prevent dirt/rust from staining the wood. A strip of unlined paper or linen will
work, this can also help to prevent burning.

Place the strap/rib against the iron, centered so that the middle of the rib is being
bent first (Fig. 7.2). Use plenty of pressure where
the rib hits the iron, but do not bend too quickly or
the rib can break. Go only as fast as the water is
being heated up and is steaming through the rib.
The heavier the wood flame is, the more pressure
you will need on the rib to keep it from bending too
quickly in places and breaking. If the flame is
straight across the rib and not slanted, you may tilt
the rib slightly while bending, too much and it won't
end up square. Slightly rock the rib from side to
side on the iron to get a gradual bend and check
from time to time to make sure the wood is not
burning.

When you have a basic feel for how the

Figure 7.2
wood bends under steam and pressure, you can
move on to the more curved areas at the ends. If you are using a horn style iron, one end
will have a radius that is close to the shape of the finished curve. This can be used to your
advantage but since it is a stronger curve here than in the center of the rib, care must be
taken not to bend too quickly. Some bending irons are simply round rods and these are
harder to use than the horn-shaped versions. You will need to add more water as you bend
and will eventually get a hang for how much to use and when to apply more. Care must be
taken not to leave the wood “wet” after you are done bending the rib. This can allow the rib
to change its shape back towards flat as well as distort because the flame weakens the
 7-2

wood across those fibers. Some people like to place the rib wood on a concrete floor for 24
hours prior to bending to let the moisture penetrate all the way through the rib.

During the bending process, check the curve of the rib frequently against the blocks.
You can also use the template (Fig. 7.3)
by lifting the template off the bench with
a block of wood. Alternatively, the form
itself may be used. For the "C" rib it may
be useful to have the template flat on the
bench and to place the rib on top of the
template at its edge. This will be slightly
off since the rib shape is actually on the
outside of the template, but it can give
you some quick clues as to where to
bend. The "C" rib ends need to stick out
Figure 7.3 beyond the “point” of the block by at
least 3-5mm. The "C" ribs are bent first; it is ok to wait to bend the upper and lower bout
ribs until the "C" ribs are in and the blocks are cut to receive the additional ribs.

Pay particular attention to the ends of the “C” rib where they will be glued to the
blocks. There must be a perfect
fit. Also be sure that the rib does
not have a twist in it, this can be
seen (Fig. 7.4) by placing the rib
on the “flat board” or marble. All
of the base of the rib should be
flat against the marble with no
gaps; this will mean that there is Figure 7.4
no twist in the rib.

Clamp the rib onto the blocks using the trapezoid clamping blocks.(Fig. 7.5 and 7.6)

Figure 7.5 Figure 7.6

The notches in the ends will grip the end of the rib. As you tighten the clamp, watch
at these end points, if the rib starts to curl inward and away from the block ends, move the
rib ends to the next “notch” further out. If the rib ends start to bend out toward the upper
 7-3

or lower blocks, move the ribs ends in a notch. Try to keep the trapezoid blocks as close to
parallel to the form's clamping surface, this will keep the clamp from shifting when
tightened. Check both the top and the bottom of the rib against the blocks for a perfect fit.

NOTE: It may be possible that the ends of the C ribs are too long and will need to be
trimmed some to work with the clamping blocks. Do not trim the rib closer than 3mm from
the “point” of the end of the block, as some rib will is needed to extend beyond the block.
You can use the the side of the square to help the rib ends fit into the clamping block
properly.

Mark a line (with a pencil) on the rib (Fig. 7.7) where it meets the block. This will
give you a guide to where the glue will go. Also make a
mark on the notch in the clamping block where the ends of
the ribs go, so that it will be easy to reinsert it at the
proper place. Remove the rib from the form. Mix up your
glue, it should be of a medium thick consistency.

If you forgot to score the block, do so now. Put

glue onto the block and the rib up to the pencil line, and
quickly place it onto the form as you did during the pre-
clamping. Tighten the clamp making sure that the rib is
seated all the way down to the marble. Make sure that the
clamp head is not hitting the marble as it can prevent the
rib from going all the way down. A small hammer can be
used to tap on the top edge of the rib's top to move the

Figure 7.7
rib down, but be gentle. Once everything is clamped and in place and tight, lift the rib
assembly and check the fit on top and bottom. If it all looks good, set it aside for at least 3
hours for the glue to dry. If there are any small gaps, use some scrap wood shims to apply
pressure to bring the rib tight to the block, do this
on both the top and bottom of the rib.

Once the glue has dried, remove the clamp

and clamping block and place the rib assembly on
the marble. Take the template and place it on the
pins. Continue the outside pencil line curve of the
corner block ribs onto the edge of the “C” rib (Fig.
7.8). This is the path of the upper and lower bout
ribs. Check that the two sides (both treble and
bass) are the same length by measuring with the
30cm rule from the pins to the end of this rib
point, adjust as necessary to be the same length.
This distance is the very end of the “C” rib and as
such the rib will get trimmed to this point.

Draw a perpendicular line (using the

square) on the rib from the end of the extended Figure 7.8
 7-4

line down to the marble (Fig. 7.9). Using the fine hobby saw, trim off the extra rib material
and square the end up with a fine flat file and the square.

Gouge with the in-cannel gouge and then file the corner blocks for the upper and
lower bout ribs, as you did on the “C” rib sides of the blocks. As you are carving at the
points of the blocks, the “C” rib's points will need to be trimmed along with the block. The
"C" bout rib needs to come to a feather edge.
(Fig. 7.10) As the fragile end of the rib might
split, it is best to gouge it from both sides
(bottom and top of the rib). Continue checking
with the square against the marble so that you
keep the block/rib square to the marble. Make a

Figure 7.9 Figure 7.10

smooth transition from the form to the block. Score the blocks as you did before with the tip
of the Xacto knife. The trimming of the ends of the “C” ribs to the feather edge should be
done last as this edge is very fragile.

For the upper and lower bouts, bend the corners of the ribs first, this way the rib can
be fully placed in the bending strap. Start with the upper ribs as the center seam doesn't
need to be perfect, since it will be cut away, and it will give you good practice. You may also
bend the curve by pressing the end of the rib against the iron with a block of wood, but this
is much harder to control. Try to stay as close to the end of the rib as possible when doing
this bend and have it overhang the feather edge of the “C” rib by just a few mm. Once the
corner is bent, again using water to allow steam to penetrate through the wood, place the
rib in your cupped hands for support and slowly rub it back and forth on the iron while
applying low to moderate pressure so that the rib will slowly bend. Be careful not to apply
too much pressure in one place especially since you don’t have the strap to back up the rib.
Continue as above until the rib is fully bent to the finished shape, again making sure that
there is no twist in the rib.

You will notice that the ribs overlap each other at the end blocks. This was done so
that you have ample room to make a good center seam, especially important at the lower
block. Clamp a rib to the corner block with the appropriate clamping block and check the fit
to the block and adjust as necessary. When properly fit, clamp one or both ribs in place on
the blocks and allow to fully dry. Remove the rib from the form and make any small
adjustments with specific point bending to fix any areas that need attention. If the rib was
 7-5

not properly bent before clamping, it may spring back to the pre-clamped shape. (Fig.
7.11)

After making all the adjustments, with one rib clamped into place, put a pencil mark
on the rib where it crosses the center line
on the block. This should still be marked
on the block from when you traced the
template, if not use the template and
mark it again. Remove the rib from the
form and continue this line down the rib
using the square. Trim the rib just outside
the line with the small hobby saw and
square it up with the file/block plane, but
be careful as the block plane can split the
end of the rib - so beware. You can also Figure 7.11
wrap some sandpaper around a block of
wood to sand the edge of the rib. Check with the square and marble to make sure that it is
very square. Once fit, be sure to file off any pencil lines so they don't confuse you with the
fit when gluing.

Once the first of the upper bout ribs is finished, do the same for the other side. For
this one however, when you trim the excess rib material, leave an extra 1/2mm for final
fitting. Once the rib is trimmed, clamp the first rib back on. Then, while frequently checking
the fit with the rib ends abutting each other, remove small amounts of material from the
second unfinished rib. Once the seam is good, slightly undercut the seam with a file, this
should be almost undetectable by eye and will make sure that the outer "visible" seam is
invisible.

Put both ribs on and clamp and recheck the seam, make sure that the ribs fit
snuggly all around the form. If you have three bar clamps, clamp the end at the neck block
temporarily. As you did before with the center rib, put a pencil line on the rib where it
leaves the block to show where the glue will go. Also mark where the clamping blocks are in
relation to the ribs. If you only have two clamps, mark them anyway for later. Take the
clamps off again. The end block position should be glued first to ensure that the seam is in
the exact center and very tight. Just as before, if there are any gaps either top or bottom,
use thin wood shims to push the rib up against the block. Don’t forget to have your small
hammer available to tap the rib down firm to the marble. To help with a good center seam,
you can also tape the ribs together at the seam with painter's tape, then apply the glue and
clamp. If you have three clamps, now, one at a time, glue and clamp the other ends of the
ribs

I had you do the upper ribs first, and the reason was for practice. That nice seam, if
you were able to do it, will be cut away for the neck later as 10mm on each side of center
will be removed. I had you practice so that you will make an absolutely perfect end block
seam which will be noticeable forever. The lower rib procedure is exactly the same as that
for the upper ribs.
 7-6

Once all of the ribs are bent and glued on, the "C" ends of the upper and lower bout
ribs will need to be trimmed to length.
They need to be marked square about
1/2mm longer than the “C” rib feather
points and then cut off with the hobby
saw. Often times for these types of cuts,
holding the form up to the side of the
bench gives the most control. Once cut,
finish off with a flat file checking with the
square, do not cut down into the feather
edge of the “C” rib, but get very close. Figure 7.12
The end of the rib should be flat and if you extended the line of that rib end, it would point
to the center of the block on the opposite end. (Fig. 7.12)

Now that the ribs are all on the form, the bottom of the ribs needs to be made very
flat across its plane. This will become the final gluing surface for the back of the violin and it

Figure 7.13 Figure 7.14

must be flat so that no undue stress is placed on the back. First take a flat file and the
general-purpose knife and break the edges of the blocks – basically cutting an angle on an
edge. (Fig 7.13 and 7.14) This will help to keep the blocks from
splitting while you plane; this area of the block will be cut away
later after the linings are in.

Using the block plane and following the direction of cut in

Fig. 7.15, plane the rib surface flat checking it frequently on the
marble. The plane should be set for very fine cutting so that the
ribs or blocks do not show any chipping. A stiff control of the
plane is necessary so that you will cut only where you want. Do
not continually work in just one area, but rather make small
adjustments at the spots that touch the marble while constantly
turning the form around to other sides.

Hold the ribs in your lap while supporting them against

your chest, this will allow you to see what you are doing. (Fig.
7.16) Care must be taken to keep the plane flat and not hit the

Figure 7.15
 7-7

inside of the ribs with the front of the plane and that you also keep the blocks flat and
square to the ribs. Check this with a straight edge from end to end and side to side. Also be
careful not to round over the tips of the rib
corners.

Check the ribs frequently on the

marble to view the high spots. (Fig. 7.17)
Plane the ribs at the high spots to bring the
rib assembly down flat. The inside of the
block may hit making it look like the ribs are
hitting somewhere else.

Figure 7.16

Figure 7.17
 8-1

Ch. 8 - Linings
When the rib assembly is completely flat, it is time to make the linings for the
bottom of the ribs. Linings are made from Spruce, Bass or Willow. I like Willow as it is light
weight and the grain is not as pronounced as the Spruce. Linings can be purchased already
made and pre-bent, but they are often the wrong shape, too thick and of poor quality of
wood. Making your own is one of the easiest parts of violin making, and after the ribs, the
linings will be a breeze.

Take your piece of lining material, cut on the quarter, and flatten one side clamping
it to the bench as you did with the ribs. A shooting board with a thin stop block at the top
can also be used to hold the wood against. The
stock lining piece needs to be at least as long as
that needed for the lower bout – (18cm) and
should also have been split out of the stock so
that the grain is straight. This is necessary since
you will be trimming the linings with a knife after
they are glued in, otherwise, it may split the
wrong way when trimming. Use a block plane as
you did for the ribs but a toothed blade is not
necessary, nor is finishing the surface with a
scraper. After the one side is flat, plane down the
other side making the finished thickness of the
lining material 1.8 mm. Use the shooting board to
plane one edge flat as you did with the rib, make
sure that you are following the grain line.

Using an adjustable cutting gauge set at

8mm wide, cut a strip of the lining material. (Fig.
8.1) This cutter can be made from a block of wood Figure 8.1
with a slot cut through it big enough for a blade. A small set screw or thumb screw can be
inserted to tighten the blade or a wooden wedge
could be used. Then a stop set at 8mm or an
adjustable one can be made. One can be purchased
where the opposite side has two blades for marking
the purfling, thus serving two purposes.

You can also use a knife and straight edge

for this procedure. Whichever method you use, cut
half way through (Fig. 8.2) and then flip over the
lining and finish the cut from the other side. This
will keep you from cutting at too much of an angle.
Once the strip has been cut, use the shooting board
and plane again to clean up the edge of the stock
Figure 8.2 and repeat this process until you have enough lining
pieces.
 8-2

You will need the following sizes for a violin (Fig. 8.3)

14mm - upper bout (4)

11mm - center bout (4)

18mm - lower bout (4)

The “C” bout linings need to be set into the

blocks so they don’t work their way out, the upper
and lower linings will hold themselves in place,
although I still make a small inset. A simple way to
do this is to take a fine tooth back saw and cut two
angled slits that meet at a point 7-10 mm in from
the blocks edge (Fig. 8.4). If you snip a 45° angle

Figure 8.3
from the end of the saw blade, it will
be easier to cut all the way down to
the form.

The width at the start should

be no wider than the thickness of the
Figure 8.4
lining. You don’t want the lining to
follow the rib line next to the block as it can force open a space between them, since the
two woods are of different hardnesses and thus
expand and contract differently. (Fig. 8.5) It
should angle in but not up against the rib.

Bend the linings using the bending iron;

you may want to just use a block of wood to hold
the end against the iron while you bend it, as the
wood bends fairly easily. Once you have bent the
end, you can hold the lining in your hand. The
rough edge of the lining strip, that edge that was
cut with the adjustable cutter or knife, is the side
that faces up. You can still use the bending strap Figure 8.5
to hold the lining, but it is not necessary.

NOTE: If there is a gap between the rib and the form, the rib wasn't bent completely
properly. You can pull the rib in a little by leaving the lining slightly flatter in that area and
the lining should be fit loosely. If the rib is a little inside of the line, bend the lining with
slightly more curve than the rib, the lining should be trimmed to fit tightly.

After the "C" bout linings are bent to the exact shape of the ribs and the extension
 8-3

cut into the blocks, the ends of the “C” linings need to be trimmed at the same angle that
was cut into those blocks. Don’t make it too snug of a fit, a ½ mm gap at the point will be
fine and allows for the lining to be clamped without undue stress on the rib or block. The
upper and lower linings just need to be trimmed to fit snuggly, but not so tight that they
could force the blocks away from the ribs. You can also inlay them into the blocks but just a
few mm's or so. For now, we only need to bend 2 of each of the linings unless you have
made a collapsible form.

A collapsible form (Fig. 8.6) is useful as you can glue both sets of linings in at this
time and it keeps everything more
square. The non-collapsible form is
extremely difficult to remove from
the ribs if both sets of linings are
installed now. If you decide to make C
the collapsible style form, you will
need a piece of 4mm thick plywood
(1/4” for viola) instead of the 1/2”
and it will need to be 3 times the A
overall size of the form.
D
The end pieces (A) fit into the
side sections (B) using a mortise (C) B
and tenon (D). The edges of the end
pieces need to be parallel to each
other. The pieces are held together
with 1/8” wooden dowels that will be Figure 8.6
tapped out later when the time arises.

The end pieces go into the side pieces with about a 1cm mortise and tenon. It is
constructed not by trimming away wood but by cutting the pieces to the proper width prior
to gluing the form together. Drill the dowel holes first into the rough cut pieces, then trim
the outer wood pieces down together. They will be the same. Then trim the center section
to width. When all the pieces are trimmed, glue the sections together using 1/8” metal pins
so that the glue won’t stick. (Replace with wooden dowel pins after the glue dries.) When
making the collapsible form, make it with excess wood around the edges, with the pins
inserted, and completely assembled before you trace the template and cut. Once
assembled, it will be like a solid form, so just lay out the template as you would a traditional
non-collapsible form. If using this type of form, it is also necessary to plane the top side of
the ribs to final rib height before gluing in the upper linings.

You will need some strips to protect the ribs so they aren't damaged from the clamps
during the lining gluing procedure. These can be made from thick, stiff cardboard like from
an old picture mat, or from some scrap pieces of lining material or even some of the thinner
plastic template material. The strips should be made slightly wider and longer than the
linings. For a violin, 10mm wide strips should suffice. At a minimum, you will need one for
each bout, 2 if you will be gluing in all 6 linings. For clamping the linings, you will need at
least enough lining clamps for the length of the lower bout, and they should be spaced
 8-4

about ½” apart. For a 6” gluing distance, 10-12 clamps may be needed and around 50 will
be needed in total for all six linings. I have found that
clothespins with rubber bands wrapped around them
work very well (Fig. 8.7). In addition, having some 1”
C clamps is useful for any trouble spots, but it is best if
the lining fits perfectly so the rib will not be distorted
Figure 8.7
when clamped as the lining is thicker than the rib.
Test clamp the lining to see if it fits properly.

Glue is only placed on the lining surface that will go up against the rib and on the
ends where they go into the block. The glue
viscosity for linings should be on the thin
side as compared to that used to glue the
ribs to the blocks. Care must be taken that
glue does not run down the inside of the rib
and glue the rib to the form. Place the lining
with the glue on it into the appropriate rib,
with the lining protruding above the rib by
about ½mm so that you will plane them
down to the ribs that have already been
flattened. This will remove any of the
Figure 8.8
uneven linings from the cutting procedure.
Place a lining gluing strip on the outside of the rib and then proceed to add clamps the
entire length of the lining. If you only use clothespin clamps, the protective strips aren’t
necessary as the clothespins won’t damage the ribs (Fig. 8.8). Continue this process for as
many linings as you have clamps. Place the clamp so that the center of the clamping pad
part of the clamp is centered on the lining for even pressure.

When the glue has dried (at least 3 hours), remove the clamps. As you did with the
ribs, bring the linings down to the finished rib
surface. Check against the marble just in case
anything was altered
in the lining gluing
procedure and
adjust as necessary.
You can also see in
the picture the
finished inlay of the
linings. (Fig. 8.9)

Once the Figure 8.9

bottom is completely
flat again, the tops of the ribs need to be flattened in the same
manner. For this, the finished heights of the ribs need to be
Figure 8.10 measured and marked. The ribs were cut out at three different
heights, and that was to make it easier now to plane the ribs to a finished tapered shape.
 8-5

To create this taper, plane the ribs to the dimensions below. Pay attention to the proper
direction in which to use the plane as you did earlier. (Fig. 8.10)

Upper block – 29.5mm Center rib – 30mm Lower block 30.5mm

Constantly check the rib assembly on the marble to make sure that you are
removing material in the right place.

If you are using a collapsible form, now is the time to glue in the second set of
linings and repeat the procedures above until the top of the ribs are resurfaced smooth and
lay flat on the marble.

Once the linings are glued into place, dry and planed down, they need to be
trimmed. Divide, at least mentally, the
lining into 3 equal parts (Fig. 8.11).
Using the tip of the knife, held like a
pencil, trim off the bottom 1/3 of the
lining being very careful not to nick the
rib as this could weaken the thin Maple.
Repeat this step starting at the second
1/3 part of the lining but at a lesser
angle.

When the linings have been

Figure 8.11 trimmed with the knife, smooth them

out first with 100, 150 and finally 220
grit sandpaper. Whenever sandpaper is used, it is best to cut a strip and then fold it in
thirds. This will give a stiffer working surface and thus give you more control. You will be
able to sand where you want without either making something too flat or too curved. An
added advantage is that the paper will last longer as it is not getting all bent and scrunched
out of shape. It is also acceptable to pre-cut the angles on the linings before gluing, but if
so, more care will need to be taken when gluing as the thinner edge may want to pull up.

Using thin glue, apply a thin coat of glue to the end grain of the blocks and repeat
this step until the glue stops being "sucked" in. This is called “sizing”. Doing this now will
make sure that when you go to glue the plate on later, the glue will remain on the surface
of the block end and actually adhere to the plate.

If you are using a collapsible form, the rib assembly is done. If using a non-
collapsible form, the upper linings won't be glued in until the top and back are done, the
back is glued on and the form is removed.
 9-1

Plates
Ch. 9 - Back and Belly Wood
The top, made from Spruce, and the back, made from Maple, are also referred to as
the plates. The top should be made from 2 book-matched pieces of split quarter-sawn
Spruce. The back can be made from either 1 or 2 pieces of quarter-sawn or 1 piece of slab
cut Maple.

As can be seen in Fig. 9.1, the grain in a quarter-sawn piece of wood (A) runs
perpendicular to the surface of the wood, whereas,
with the slab-cut (B) wood, the grain is offset from
perpendicular on both sides from the center. Cutting
on the slab can result in a piece of wildly figured
B wood .
B A slab-cut piece is less stable but more
flexible than the quarter-sawn one which is why I like
it better for viola wood. A slab-cut piece of Maple
can yield a wider plank than a quarter-sawn plank
A from the same width tree. When looking at the
quarter-sawn wood (Fig. 9.2), the grain is what runs
A from top to bottom, the figure or flame runs across
from the treble to the bass side of the wood. It is
Figure 9.1 more difficult to find a quarter-sawn one piece back
as on a violin that would require a tree measuring at
least 18” in diameter. A slab-cut piece, (Fig. 9.3) could come from a tree half that diameter.
This particular highly figured
piece of wood is often referred
to as "quilted" in addition to
being cut on the slab.

The Spruce and Maple

that is used to make violins can
come from many different
continents. We don’t know for
certain the exact geographical
origin of the wood used in the
Cremonese violins of the 1600's
and early 1700's. It was
European, and probably from
somewhere nearby since makers
like Stradivari never roamed far
from their homes. It was most
likely either local in Italy or from
just across the Adriatic Sea in
Figure 9.2 Figure 9.3
the Bosnian region.
 9-2

Violin wood needs to be well-seasoned before its use. Most makers won’t touch
wood that hasn’t air dried for at least 5–10 years, and many wait even longer. I have used
wood that was over 50 years old. Stradivari often used top wood that was over 60 years
old, this is known by dating the wood by using the science of Dendrochronology which uses
the growth rings and known climate changes. While Guarneri sometimes used very fresh
wood, and even mismatched pieces of Spruce. One method that is used is to wait 1 year for
each grain width of final thickness. This means that if you have 1 grain per mm of top wood,
then you should wait 4 years minimum of dry time since the violin top is 4mm thick.

Proper air-drying of violin wood lets the moisture out. The length of time is, of
course, a matter of contention between different makers. There are many things that
happen to the cells of wood after that initial drying time. One of the most important may be
the continued loss of the turpentine that is held in the resin and takes a long time to
evaporate completely, as well as the hardening and oxidation of the resins that hold the
turpentine. Wood also tends to shrink and expand less over time because of the alternating
dry and wet periods through the years. All of this seems to help contribute to get better
results when using older wood. The changes don't stop when the wood has been cut and
made into a violin, and this accounts for some of the special qualities of old violins, where
the wood has been curing for hundreds of years. On the other hand, not all old violins are
good. Just being old doesn’t make a violin good; there are more than enough old bad violins
to prove this. The instrument also has to be made correctly.

When selecting wood, the top should not have overly close grain as this can make it
weaker; 10-12 grains per 1cm of width is about the narrowest grain that I like. Extremely
fine-grain Spruce is not a characteristic of the best violins. Many of the better makers
chose medium grain wood. Because of the denser winter (darker) growth, wood with more
winter grain, thus more grains per cm, will be denser and thus not give as good a result.
Especially narrow winter growth (the dark line width) is best for top wood. The tree should
not have grown in severe windy conditions as this can create a twist in the wood’s grain -
not that you would necessarily know where it grew unless you cut it yourself.

For back wood, when using a two-piece back, be sure to use two matching pieces
that grew adjacent to one another in the tree. It is typical when purchasing back wood for it
to come with matching rib wood. The grain width for the Maple is not as important and the
flame should overpower the grain in appearance. The most expensive wood may not always
be the best for tone; lighter weight wood will more often produce a better tone, but when
using harder-denser wood and a flater arch, a more powerful sound will be achieved.
Greatly varying width in the grain should also be avoided as it will make the wood move at
different rates. Straight grain should be chosen over grain that wiggles too much down the
instrument's length. Because of the way trees grow and the way we use them for violins,
the narrowest grains will be at the center of the instrument when using two pieces.

When looking at Maple, the curl, figure or flame is created by a natural genetic
modification to the wood. Many kinds of wood have been used in making violin backs over
the years, these include Poplar, Alder, Beech, Cherry, and others, however, Maple is still the
most widely excepted wood for the back, neck and sides. Something to keep in mind is that
all of the wood that is cut specifically for violin making will have been properly air dried. So,
 9-3

unless you cut down your own tree and air dry it, you may be using wood which has been
cooked unless you purchase it from a violin wood specialty dealer.

There are many opinions as to which woods are best and why. Many makers swear
by American woods while others prefer European wood. Each has its pluses and minuses
and I won’t try to preach my opinions other than to say that I prefer European wood for
violins and American wood for violas. Of the American Spruces, I prefer the Sitka over the
Engelmann, although the Engelmann has a similar color to the American Maple so it makes
a nice combination in the raw form. With American Maple, it is best to be from the west
coast and not the eastern Rock Maple.

Other than for beauty, flaws in wood are not a real problem. Some of the great
makers used very plain wood with flaws, like knots, mineral marks, sap pockets and crazy
grain patterns. The worst offenders, sap pockets in the Spruce, can be cut out and a
replacement piece of wood fitted during the making process. However, Maple that has extra
twists and turns in it can cause serious problems down the road with distorted arching and
glue seams that come apart and are very difficult to close. Keep in mind that if you choose a
highly-figured piece of Maple for your first attempt, it will be much more difficult to work
than a plainer piece of wood. There is no sound advantage to a pretty vs. a plain piece of
Maple. Even some of the great makers used plainer wood for the neck and scroll since it is
easier to carve.

One of the finest sounding Stradivari violins I’ve seen had extreme run-out on the
back and it was probably the plainest piece of Maple I've ever seen on a Strad. Whatever
magic he did when making that violin had nothing to do with the raw chunk of wood. Many
great violin makers of the past used wood that today would be rejected by modern makers.

Some makers use Specific Gravity (SG) when picking out wood. It can be done by
immersing the wood in water, but this might be frowned upon at the wood dealer. It can
however, be done with some simple measurements. Accuracy does matter here.

Measure the wood billet that you have to find the volume.

• Find the median thickness by dividing the Sum of thicknesses A and B by 2 - ie.
2.0cm + 4.5cm = 6.5cm ÷ 2 = 3.25cm.
• Then take that median thickness and multiply by
the width C and length D -
ie. 3.25cm X 22.0cm x 40.0cm = 2860cm.
• Then divide the weight by the volume -
1000grams ÷ 2860 = .35 SG

Typical good Specific Gravity numbers for violin wood are:

.32 -.36 for the Top Figure 9.4
.53 -.57 for the Back

If you want a brighter sound, the Maple SG could be higher, like around .58-.65. Darker
sound comes from a lower SG.
 10-1

CH. 10 - Starting the Top and Back - Flattening

For the purposes of this book, we will assume that you are using a two-piece back,
the two halves may still need to be separated. With a one-piece back, frequent marking of
the imaginary center seam will be necessary and I will discuss that further as needed.
Before splitting or cutting apart the halves, check, using the template or rib assembly, to
make sure that there is sufficient width and length for
the model you will be making. When using the
template, add an extra ½” on each side since the
template is from the inside of the rib line. Also, give
yourself a little extra for making the center seam joint.
On the back plate, don’t forget the button which adds
an extra 1" of length beyond the plate's edge.

When you receive the wood from the supplier,

most two-piece tops and backs will come still partially
attached to one another so that the two halves stay
together and thus stay “book matched”. (Fig. 10.1)
Usually, this connection will be by just a small section at
Figure 10.1
one edge that needs to be cut through. For the top, this
can often just be split apart and this will give you a good sense if the wood was cut similarly
to how it would split. The nicer the wood and its preparation, the better this will be. For the
back, it will be necessary to finish the cut with the Japanese saw, hand saw or band saw.

The interior of the wood, the parts that are exposed when the halves are split or
sawn apart, will become the gluing surface to the ribs or the inside of the top and back
plates. The narrow edge of the wedge will be the outside edge; this was originally the inside
of the tree near the heartwood. The wide width of the wedges (bark side of the tree) will
become the center of the violin and this wider portion needs to be thick enough for the full
arching height plus some extra for good measure. The finished arching height of a violin top
is about 15mm. The raw material if split well and with a little twist; should be around
20mm thick for each half of the plate at its thickest portion. The thin edge should be around
8mm at a minimum to start with. If you are experienced with a plane, you might get by
with a little tighter tolerance.

Both plates can be worked on at the same time, just keep track of which surface will
be the inside. With the plates separated, place one-half on the bench top with the inside
surface facing up and the other half under
it facing the opposite direction. (Fig.
10.2). This will allow the plate to be
relatively level and make it easier to
plane. Using a Jack, Bench or
Smoothing Plane; one that is 10” long
or more, plane in the direction of the
grain, from end to end. If the wood
planes roughly and wants to tear, turn
Figure 10.2
the wood around and plane from the other
 10-2

direction – bottom to top instead of top to bottom. If this is necessary for the Spruce, it
means that the wood was not "split" or cut well. Hopefully, you will have enough extra wood
thickness to correct some or all of that “run out” in the grain. By having little or no runout,
each half of the wood will reflect light in the same direction, otherwise under varnish; half of
the top could look darker than the other
half. On very figured Maple, it may also be
necessary to plane at somewhat of an angle
from side to side to avoid tear-out of the
curl. (Fig 10.3)

Once it can be planed in either

direction, the run out is corrected. Make
sure that you check for flatness with the
straight edge in length, width and also from
opposite corners, this will keep out a twist
in the wood. (Fig. 10.4 and 10.5)

Figure 10.3

Figure 10.5
Figure 10.4

The marble can also be used by tapping the wood on all the corners to see where it
rocks. (Fig. 10.6) This will be the gluing
surface for the ribs so it must be perfectly
flat with no holes or bumps. An out-of-flat
plate would require you to have to clamp the
ribs tighter and thus distort the violin which
would also affect the sound and might make
it come apart or even crack under the added
tension. Be sure that you keep this surface
perpendicular to the grain of the wood; this
is very necessary on the Spruce. If you are
doing a one-piece or slab-cut Maple back,
this will not be possible.
Figure 10.6
 10-3

Once one half of the plate is done, switch the pieces of wood around and do the
other half exactly the same way. Continue this process until both halves of the top and back
plate are planed flat. As an added check, place the two halves together with their inside
surfaces together, just as the wood grew. You should not get any rock or twist of the two
pieces together. When the two halves are brought together quickly, they should not make a
"slapping" sound, this shows they are flat.
 11-1

Ch. 11 - Center Seam

After the plate halves are flattened, the wide edge needs to be surfaced as it will
become the center seam. Prior to surfacing the center seam edges, the grain needs to be
checked to see if it is
parallel to this edge
and, if not,
corrected. (Fig.
11.1) Find the grain
lines and draw a line
parallel to them,
cutting off the least
amount to create a
parallel edge.

Figure 11.1

NOTE: On the top plate, once you get good at doing a seam, if there is plenty of wood in
the blank, you might find that you can saw off some of the wood from the center on both
halves. This wood often makes great bassbars.

The center seam surface needs to be at a perfect 90° from the inside surface of the
plate. If they are not, you will have to re-plane the inside surfaces a lot to flatten the new
wider area. Take the straight edge, and following the closest full grain line that travels from
end to end, draw a line on the inside of the plate next to the wide edge.

There are several ways that this surface can be cut down and made roughly square
to the inside.

1. By using a shooting board

2. By clamping the wedge in the bench vise and pushing the plane down its edge
3. By clamping the plane in the bench vise and shooting the wedge down the plane
4. By cutting it off with a band saw or hand saw, if the amount is more severe like in
Fig. 11.1. Just remember that you are dealing with a wedge, so the band saw table
may need to be tilted.
5. by using an electric planer

I prefer method 3 (Fig. 11.2) as I

feel that it allows a little more control. If
the angle needs to be adjusted slightly,
you can shoot the board down nearer to
the edge of the blade (with the blade
tilted in the plane slightly). This is also
the way you will be doing the joint, so it
will give you some practice; the blade
may just be set further out for this
rougher work.
Figure 11.2
The longer the plane, the easier
 11-2

the job will be. For a violin, you might be able to get away with a Jack Plane, but a hand
Jointer Plane is better. The finished seam should be done by hand as an electric jointer
won't give the kind of seamless joint that can be achieved by hand. When the instrument is
finished, there will be parts of the center seam that are only 2.5 mm thick.

Place the plane upside down and clamp it into the bench vise (Fig. 11.2) in such a
way that the blade is not stressed, you have access to the blade adjustments and so that
you won’t hit the bench with your hands/fingers when you shoot the wedge down the
plane's surface. Depending on
the design and strength of
your bench, you may need to
put a support leg on the end
of the plane down to the
floor. The plane must not
move under the pressure of
the planing procedure. As
you plane the edge smooth Figure 11.3
and square, the idea is to make as long of a shaving as possible. (Fig. 11.3) This will
prevent any “bumps” from the start or end of the shaving.

If the cut needs to be made more in the center of the wedge's length, hold the
wedge in the middle with a hand on each side at the top. (Fig. 11.4) If you feel that more

Figure 11.4 Figure 11.5

cut is needed at the ends, hold the wedge at the ends. (Fig. 11.5) When finished, you
should feel that you have obtained a minute vacuum between the two planed surfaces; it
should feel like there is a space without actually being able to see it clearly.

It is extremely important that this joint is exceptionally good. You will be putting a
lot of stress on the joint as you carve the
plates and once finished, the joint will be less
than 3mm at its thinnest spot. For large
instruments like the cello and any center seam
that you are at all not sure of, it is strongly
advisable to place cleats down this joint. (Fig.
11.6) Obviously, we are not doing them now,
but if you have seen these on an instrument, I
wanted to explain their purpose besides in Figure 11.6
 11-3

repair. I also like to use them on Maple that is more flexible like that in American Maple.
See the repair section for more information on cleats which are almost always used after a
crack repair.

To check the joint for any gaps and to determine which half the gap is in, place the
two halves together like you are going to glue them, then
slide one side so that it overhangs the end of the other
side by almost half. Do this in both directions and look
for gaps and check for twists or any rocking. The center
of the plate should have the feel of a very slight gap, but
one should not really be visible. When the glue is applied,
it will “pull” the joint together. The end result should be a
joint that is basically invisible. (Fig. 11.7)

When both plates are ready to be glued, mix up a

fresh batch of glue. It should be slightly on the thin side,
but strong. Glue can always be tested by placing a drop
between your thumb and first finger and rubbing them
together. It should not take very long for your fingers to
start to “stick” together and for it to feel like there are
hairs connecting the two together. The glue should not
gel between your fingers.

Clamp one half of the plate in the vise, placed so

only half of it is in the vise, and tighten it. This is so the Figure 11.7
board won’t twist under tension. As was done before gluing the linings, warm up the joint
slightly with a hot lamp or alcohol lamp, even a blow dryer. (Do not do this work if the room
temperature is chilly). This is especially important so that you will have enough time to work
once the glue has been applied to the wood. It is a long surface and you don’t want the
glue to start to gel before you start to put the pieces together.

Be sure that you pay attention to which are the insides of the plates; you don’t want
to make the mistake of putting things together incorrectly. Quickly put glue on both
surfaces and place the two pieces together. Immediately start to rub them together end to
end while also keeping the inside surfaces of both sides flush with one another. Use lots of
downward pressure but don’t rock the pieces from side to side. Only move the pieces a
short distance, ½” or less. When the wood starts to
“grab” stop rubbing. Take the plate out of the vise
and place standing in the "joint horizontal" position
off to the side and out of the way.

If you are unsure of the quality of the joint,

you can clamp using a couple of pipe clamps. These
are great as you can look at the seam after it has
been glued, flipping it over if necessary. If you
have a bench with 2 parallel sets of dogs, you can
clamp the plate in the bench (Fig. 11.8). Have the Figure 11.8
 11-4

dogs set and ready ahead of time, it is always best to pre-clamp before the glue is applied
to make sure that they will hold firmly. No matter what you use, pre-clamp before applying
glue to see how the joint acts under pressure.

If using the bench dogs, clamp with the inside surface down. (Be sure to put some
wax paper on the bench so you don’t glue the plate
to the bench). You should also have some bar or big
“C” clamps ready in case you need to put some
downward pressure on the plate. (Fig. 11.9)

If using the bar clamps and you see a spot

that looks like it might be open slightly, you can use
an alcohol lamp to warm up the joint and then
tighten the clamps some more. You can also brush
some alcohol on the joint, then light the alcohol on
fire and it warm the joint after gluing. This is
especially useful if you are using pipe clamps as you
can "warm" both sides this way. Don't worry if you
have scorched the wood slightly, it will all be cut and
planed away.

Repeat these procedures for the other plate.

When the glue is dry (the next day), remove the
Figure 11.9
clamps. Resurface the plates again (if necessary) as
you did with the individual sides of the plates, checking length, width, and both diagonals as
you did before to avoid any twist and checking on the marble as needed.
 12-1

Ch. 12 - Arching
When finished, the top or back will end up containing less than 20% of the original
weight of the wood. Some makers weigh their plates as part of the thinning process. A
finished plate weight (in grams) that is typically aimed for is:

Violin Viola Cello

Back 85-100 150 675

Top 55-65 100 435

A well-made, good quality, completely set up and ready to play new violin should
weigh around 400-415 grams (not including a chinrest).

Place the now flattened and ready blank plate, inside surface face down, on the
bench, and clamp it using the end vise and bench dogs. With the Jack Plane, the thickness
caliper, and the straight edge, plane the center of the plate down its length until the center
reaches a thickness of 15.5 mm for the back and 16 mm for the top. This will be the
finished height of the curved arch (plus .5 mm for final scraping).

Once you have the plates ready, it is time to transfer the rib shape and rough outline
to them. On the inside of the plates, mark with a hard pencil, the center lines near the ends
if they are not clearly visible, but far enough in that the lines will meet the outline of the
ribs. Place the ribs, bottom side down on the inside of the back plate and align the upper
and lower block rib seams (or center seam drawn on the rib, whichever is accurate), with
the center seam on the back plate.

If you properly glued the ribs on, the seam will be the center. If you have any
concerns, use the template, which has the
center seam marked and transfer this to the
blocks if it was not done already. (Fig. 12.1)
Then bring this line around and onto the ribs so
that you can see it when lining them up on the
plate. Clamp the ribs onto the plate with a bar
clamp at the upper and lower blocks. Trace the
rib outline onto the plate with a sharp pencil.

While the ribs are still on the plate, take

Figure 12.1

a thick washer or roller bearing or

several standard washers with a 4-5mm
metal width (from inside to outside). If
you are using more than one washer,
glue them together with Krazy glue. Put
the thick washer up against the ribs,
place the pencil point inside the washer, Figure 12.2
and using the washer as a guide, trace this 4-5mm outline around the ribs. (Fig. 12.2)
 12-2

Do not forget that on the back we need to leave additional wood for the button. For a
violin leave an extra 30mm in width (15 mm each side of the
center joint) and 20 mm in height. You can make a template
for this purpose if you desire. (Fig. 12.3) This is bigger than
will be needed and we will trim it later.

When done, you will notice that the corners are round
and they need to be adjusted to the correct angle. Take the
30cm ruler and make a diagonal line from the center seam at
the top of the
upper bout to the
Figure 12.3 opposite lower bout
corner and mark
this angle on the corner of the underside of the
plate. (Fig. 12.4) This line should also be about
4mm from the rib corner. A more accurate line
will be discussed later. The location of where to
set the angle from on the end of the plate is
arbitrary, this is what I use and you may like
something different. Just be consistent.

Repeat this corner layout procedure for Figure 12.4

the top plate, but use the top side of the rib
when tracing the shape in case there are slight differences in shape.

Now cut out the outline of the plates

into the violin shape. For this, the far easiest
thing is the use of a Band Saw. Many makers
also use a Bow Saw or simply a Coping Saw
(Fig. 12.5) with a rough blade. The Bow saw
is a nice hand tool, certainly not necessary, but
a lot less expensive than a Band saw, and it
can do most of the same operation.

When using the Band Saw, set the plate

down with the inside surface facing up, so the
section of the plate you are cutting on is sitting
Figure 12.5
solidly on the table. (Fig. 12.6) Because of this
angle, some areas that are cut out will be a
little wider on the outside surface than the
traced line. This is, of course, the safe way,
you can always cut off more with finer
tools, but you cannot put the wood back if
you have cut off too much. If using the Bow
Saw or Coping Saw, clamp in the vise
Figure 12.6
 12-3

across the seam if possible, but if not, only saw on the half that is clamped so as not to
stress the seam. When cutting with a hand saw, make sure that you keep the cut
perpendicular to the inside of the plate, or slanted out slightly. You can also clamp it down
to the workbench and insert some wooden wedges (like doorstops) to support the angled
section, this makes it a little easier to feel if you are cutting at a 90° angle.

The “C” bouts will be more difficult to cut on the band saw unless you have a narrow
blade. If not, you will need to “cut in” by
making several cuts at different angles
before you can turn the blade to continue
around the curve. Start with the upper
corner curve first, back out the blade, and
then do the lower, then you can go around
the curve to the upper corner. (Fig 12.7)

After both plates are cut out, a rough

Figure 12.7
edge thickness line, used as a guide, needs
to be drawn all of the way around the edge.
A simple marking gauge can be made or purchased and is used to mark the thickness line.
Set the thickness at 6 mm for a violin
and trace the rough thickness line onto
the edge of the plate. which will end up
thinner; this marking is just for the
rough carving phase. Using the all-
purpose knife and a Flat Finger Plane,
trim the exterior part of the plate down
to the 6mm thickness line creating an
angled cut of approximately 45°. (Fig.
12.8) Figure 12.8

Alternatively, instead of cutting the angled edge, is to make a frame of the shape of
the plate from 1/4" plywood. Just trace the
plate onto a piece of plywood that is at
least 1" wider than the plate, cut along the
line and place the "frame" around the plate.
Tack it down onto a base sheet of plywood,
it will keep you from going too deep.

You need a way to hold the plate

down to the bench while gouging. I use a
gouging platform (Fig. 12.9) as described
in Appendix 1.

I use this method as it is easier for

me to stand almost straight up rather than
bending down to carve and the platform
gives me enough height. Using a gouge is
Figure 12.9
 12-4

different from using a plane, with a plane you are also pushing down, so the ergonomics are
different. The platform also makes for an easy way to hold the plate down.

The plate can also be pushed against a stop block, like a dowel set in a hole drilled
into the bench about 8-10" away from the front edge of the bench. A clamp is then used to
hold the plate in place. A type of clamp called a "hold fast" can be very useful, but by itself,
it won't be enough.

I quickly made (in about 15 minutes) a hold fast style clamp out of a bar clamp by
removing the rigid end and replacing it with a piece of
steel that swivels so that the bar end can be inserted
in the bench dog hole. (Fig. 12.10) You will need a
bar clamp that will fit and can be turned in the holes
in the bench or drill some new ones of the proper
size. If you want to be able to use the bar clamp as a
bar clamp, just assemble with a bolt and nut, but you
may have to assemble it as a hold down after the bar
has passed through the hole in the bench as the bolt
and nut heads may be too big to fit.

These systems can work for both the inside

and outside gouging. When gouging out the inside,
you will also need a cradle (discussed later) with the
reverse curve carved into it so that the plate can sit
securely upside down. The height of the stop blocks
may be different depending on the use, but as long as
they are wood, being a little high should not pose any
problems. Figure 12.10

Now it is time to start the arching process. Before you begin, a small area in the
center of the back and top need to be marked where you will not be cutting. The top is
slightly flatter in the center of its arched curve than the back.

For the top, using the length of the “f” holes (approx. 70mm for a violin), mark half
of this (35mm) on either side of the bridge location (19.5 cm down from the upper edge on
a violin). Draw two parallel lines 20mm on each side of the center line. This should result in
a rectangle with the dimensions of 70mm x 40mm. This rectangle will become an oval as
you work the wood. For the back, do the same thing, the total length will be 40mm instead
of 70mm and the width 30mm instead of 40mm, as the back is not as flat and basically one
continuous curve. This method is certainly not Gospel and the "flatness" of these squares
will curve off in the final stages of scraping.

Use an Arching Gouge, one that has either a flat or strong curve. Hold the gouge
by the handle in your dominant hand and then place your other hand on top of the tool, this
gives you the greatest control. (Fig. 12.9) When working, use your body weight when
pushing the gouge rather than arm strength. I have a number of violin making associates
who are not big strong people, including myself these days. If you use your body and have
a very sharp gouge, it is relatively quick work to rough out the plate.
 12-5

You need to use some force to carve the wood and you don’t want the blade to slip
and either damage a section of the plate that you didn’t want to cut, or worse, injure
yourself. When I attended violin making school, there
was a story about one student wasn’t so careful and
they nicked their forehead when doing a cut. The hand
on top will prevent the gouge from being able to do that.

Start with the gouge placed at the edge, but not

too far down the side. The beveled area that you cut
with the knife is the area that you want to start with. If
you made the plywood "frame", just place the gouge on
the frame surface as it will be your guide. Use long
sweeping strokes always curving up, but be careful in
the “C” bout areas to sweep up quickly so that you do
not cut too deeply here. You may want to go with the
grain instead of against the grain in the "C" bouts, but
on the Spruce, the wood will split very easy with the
grain, so care must be taken to not force the wood too
much. On the back, you should avoid going with the
grain, a split on the back could be devastating since
more force will be needed while carving.
Figure 12.11 Starting with the Spruce will be a good idea as it
will give you some practice in how to use the tool while
the wood is easier to work. Do not bring the arch of
either the top or back down too quickly, there should be
a perception of a plateau even though it is not really flat
on the top and not at all on the back, but remember
that this is just the first step in the arching process, so
don't go crazy trying to be perfect, there is plenty of
time for that later.

You can see by these topographical views of the

top and back plates created with the use of a pencil
caliper, (Fig. 12.11 and 12.12) that this arch is more
gradual from end to end on the back and the top is
flatter. Some makers prefer to make templates of the
contours of both width and length and I have provided
some information on this method in Appendix 4. I use
my eye and a pencil caliper to “see” the contour of the
arch as I work.

Once the rough arch is gouged, finger planes are

used to somewhat smooth out the shape, removing the
rough gouge marks and making more subtle changes. It
Figure 12.12
is not important to make things too accurate at this
point since the edge thickness has yet to be finalized.
 13-1

Ch. 13 - Overhang
You should now have a roughly 5-6mm thick edge and an approximate arch. The
edge overhang should be in the 3-4mm
range. Now the edge overhang from the ribs
needs to be made smaller and even. A
template can be made to make this easier,
but don't use it for every mm along the
edge, but rather try to train your eye as it
will be easier to make a smooth curved line.
Measuring too often can result in a faceted
edge, especially if any part of the ribs were
not bent perfectly and this was transferred
to the plates. (Fig 13.1)

With the utility knife and the smallest

flat sole finger plane, trim the edge to 4mm
Figure 13.1
from the rib line. Follow the directions of cut
in Fig. 13.2 and keep the edge perpendicular to the inside surface of the plate. When
cutting parallel to the grain, especially on the top,
be especially mindful of the grain, as it will split
easily if you go slightly in the wrong direction.

Once the edge has an even overhang, a flat

ledge all the way around the perimeter of the
instrument needs to be made. This ledge should
extend in from the edge by approximately 10mm.
Do not exceed this amount in the “C” bouts or the
arch will have to be too abrupt to compensate. To
create this ledge by hand, use a small width in-
cannel gouge (6-8mm wide) to make a channel
with its center 6mm in from the edge. Only gouge
the wood down in small increments while
continuously checking the edge thickness at the
bottom of the channel “T” until you get to a final
thickness (Fig. 13.3 and 13.4) of 3.8 - 4mm for
the back and 4 - 4.2mm for the top.

Gouge in the same directions as in Fig.

13.2. The exact
start of where to
change direction will
Figure 13.2 depend on the grain
and run-out of each specific piece of wood. The arrows in the
Figure 13.3
diagram are just guidelines. Some makers leave the corners
a little thicker for esthetic reasons and as such they rise up an extra .2-.5 mm.
 13-2

As you are gouging down, use the smaller finger planes to bring down the ledge even
with the bottom of the channel, ending by
creating a flat ledge with no channel. You
may need to bring the ledge down even
with the channel several times as gouging
a deep groove is harder than a shallow
one. After a small distance gouged, flatten
again with the finger planes. Continue this
until you have reached a thickness of .2
Figure 13.4 mm over the finished thickness. Then use
a flat file to smooth out the surface. If
you make a wooden block the same as the final thickness, you can rest the file on that so
that the ledge will remain level,
even taping the block to the file as
in Fig. 13.5.

A more mechanized
approach in doing the edge
thicknesses, purfling, and channel
Figure 13.5
can be achieved by using an
overhead pin router set up, which is a router held above the work surface via a platform
with a plunge option, best operated by
the foot. It can make very quick work of
the edge thickness. (This should still
only be done after the rough gouging).
Other makers simply use a rotary type
file held in a drill press at its fastest
speed setting.
Figure 13.6 When the ledge is completed,
there will be a sharp rise in the arching (Fig. 13.6).

Using the plate arching gouge, as before, and finger planes, rework the arch until the
gentle curve has been reestablished. (Fig. 13.7 and 13.8).

If you choose to use Arching Templates, you can use them here, but since the
channel for the purfling still needs to be cut, this will just be close. (Fig. 13.9) If you make

Figure 13.7 Figure 13.8

 13-3

the gap under the template basically parallel to the top surface and about a 1mm space,
once the channel is cut, the template will fit
very closely. There is no need to scrape it
smooth at this point since we still have to
do the purfling and purfling channel and
then blend it into the arch again.

Figure 13.9
 14-1

Ch. 14 - Scooping Out the Inside

The inside now needs to be roughly gouged out so the fine detail work that is done
to the outside of the plates is not
damaged. Flip the plate over and draw
a line 2cm all the way around inside of
the edge. When you get used to gouging
out the inside, this line can be moved
closer to the edge, to about 1 cm. (Fig.
14.1) Leave space for the gluing area of
the blocks. Measure the blocks to see
how much space is needed. Basically,
the end result is an hourglass shape plus
space for the upper and lower blocks.
Figure 14.1
Some makers leave this area flat all the
way across as in Fig. 14.1 - at least at this point.

If you are using the Universal form, the exact outline of the inside of the linings and
blocks can be traced onto the plates.

Place the plate upside down in the Cradle and on the arching platform. Using the
Arching gouge and the thickness caliper, carve
out the inside to an even 6mm for the top and
7mm for the back. To make it easier, and to
not have to be constantly using the caliper,
some makers use a thickness marking pin
punch (Fig. 14.2) or a drill press to make holes
on the inside of the plate. (Fig. 14.3) You set
the depth on one of these devices at the desired
thickness, make the holes and then using the
gouge and finger planes remove the wood until
you reach the bottom of the holes.

If you use a drill press, clamp a post

Figure 14.2

onto the table (Fig. 14.4) so that the

plate can be tilted in any direction to
maintain the drill bit perpendicular to
Figure 14.3 the place you are drilling. Drilling these
holes can save some time going back
 14-2

and forth with the calipers and can prevent from going too thin. This is still just a rough
thickness guide and more accurate ones will be
done later with the caliper, once the edge and
purfling work are completed. If you use one of
these devices as an aid, make sure that the
depth stop is very secure, you do not want to
drill all the way through the plate.

Figure 14.4
 15-1

Ch. 15 - Finishing the Edge

When the rough inside gouging is done, we temporarily glue the top and back onto
the ribs. (Fig. 15.1) This is so that the final
edge overhang can be made very precisely. It
is difficult to just eyeball the overhang, but
when it is placed next to the rib, the distance
will be easier to see and adjust as necessary.

Place a drop of glue on each block and

4-6 along the edge of each rib. Be sure not to
use too big of a drop, you don’t want glue
Figure 15.1 running down the rib, either on the inside or
outside. Line up the rib assembly on the
center lines and on the previously traced rib outline and clamp using the body clamps.

Glue one plate at a time. When both plates are dry, remove the clamps. Using the
utility knife and flat finger plane, trim the
edges (Fig. 15.2) to a final distance from the
rib of 2.5mm. The plate you are cutting
should be on the bottom so that you can see
the overhang as you are working.

A template like the one mentioned

Figure 15.2

Figure 15.3
before can be made to assist in the distance.
(Fig. 15.3) The “C” bout side of the corners
will stay at 2.5mm, but the outside of the
corners will flare to 3-3.5mm. The rib itself is
1mm thick at the end so the total width at the
upper corner angle points is 7mm, the lower bout Figure 15.4
corner can be just slightly wider at 7.5-8mm. (Fig. 15.4)
 15-2

The overhang of the plate corners at the rib points are 2mm. Pay attention to the
cutting direction and always cut the corners towards the “C” bout, especially on the top
plate, as the tip of the Spruce could break off if you cut towards it. Maintain a consistent
angle of the points on both plates (all 4 upper corners
should match and all 4 lower corners should match). We
roughly aimed the corner angles before. To finalize this, I
use an angle to create the flat line of the corner of 2cm to
the opposite side of the center line for the opposite bout.
(Fig. 15.5) Leave the corner tip as sharp as possible now,
you can round the corners to taste later.

Be extra careful, especially on the top, at the widest

and narrowest parts of each bout. The grain meets from
the two directions and it is very easy to "dig in" to the
softer summer growth. In addition to the knife and finger
plane, now you will need the extra finesse of the crossing
and flat files. (Fig. 15.6) It is better to have the overhang
measurement slightly off and have a nice sweeping curve,
so don’t go crazy being so precise in the 2.5mm
measurement that you miss a bump.

Any imperfection in the edge will show up in the

Figure 15.5 purfling as the
edge is used when placing the purfling line. Any
imperfections will look exaggerated. You can
compare the edge of the top to the edge of the
back during this procedure, (Fig. 15.7) and make
them as close to each other as possible as long as
you don’t go too thin on the overhang.

Be careful when filing the Spruce as the file

will remove more of the soft summer growth than
the harder winter growth; this is more difficult in
the “C” bouts where there are very long sections Figure 15.6
of the soft summer growth.

It is useful to hold the file so that it is essentially resting, but not filing, on one plate
while you are working on the other. Because of this, it is best to do the edges on the hard
Maple first and then finish up with the
Spruce, especially when you are new at
this. When filing, have the plate that
you are filing, on the top for ease of
viewing, but compare it to the lower
plate as you work. Use your eye to view
Figure 15.7 the curve - always opting for a smooth
flowing shape over an exact distance
from the rib.
 16-1

Ch. 16 - Purfling

Marking

As stated previously, the purfling will precisely follow the outline of the plate's edge,
so the edge needs to be very, very smooth. Any imperfections in the edge will be
accentuated in the purfling and be even more noticeable since the purfling is dark against
the lighter plate wood. Once the overhang is perfected there are two ways to proceed.

If the purfling and channel will be cut with hand tools, leaving the plates attached to
the ribs is the best option as it gives more to hold on to and makes marking the purfling
lines easier. You will also need the use of a cradle at this point. However, if a powered
version for cutting the purfling groove and the channel is to be used, it will be necessary to
remove the plates from the ribs. If removing the plates now, see the Back Graduation
section 17 on "registration pins" prior to removing the plates.

A Purfling Marker is used to make two parallel lines that the knife will follow. The
markers are commercially available or can be made. There is a guide that hangs down over
the edge that follows the edge’s curves. Then there are two parallel blades set apart to the
width of the piece of purfling that you are using.

The Purfling itself is made up of 3 layers in a black/white/black configuration (Fig.

16.1) Purfling that is used for a violin is about 1.3mm in total width. Two
types are available, wood and fiber, the wood is harder to bend as it is prone to
cracking. Care must also be taken while bending that it does not get too hot or the
glue holding the pieces together can become delaminated. Many violin makers
from the 15th-17th centuries used three separate strips that they glued in
all at one time. Some of these makers used whalebone purfling while Figure 16.1
others used woods of different colors.

Prior to using the marker on the plates, practice on some scrap wood, the cutoff
edges of the plates work well. Use a piece of
the same purfling that you will be using on the
instrument, placing it between the blades is a
good way to get the correct spacing. Just
smooth up the scrap pieces just as you did with
the plate edges so that you can practice on a
smooth surface. Use some dry Ivory Soap
(bar form) rubbed on the edge to make the
marker glide easily. Be sure to hold the marker
perpendicular to the plate in both directions.
(Fig. 16.2) Aim for a smooth curve with a
Figure 16.2 constant flow of the arm. If possible, it is best
to mark the whole bout in one flowing motion.

Cut out the wood between the lines as described below to test the section that you
marked for the proper width of the purfling that you will be using. It should fit easily but not
wiggle in the groove. Do not glue in the test piece, but for informational purposes, once the
 16-2

glue is inserted, the groove will start to close. You don’t want too much tension on the sides
of the groove. I have seen, on the Spruce top, an edge break off when too tight a piece of
purfling was inserted.

When laying out and adjusting the distance that the purfling is set in from the edge,
try to avoid setting the purfling too close to the edge, otherwise the point (bee-sting) will be
too short and stubby. If set in too far, it will make the edges look too bold. On most violins,
this will work out to about 4mm from the edge for the outside line. Also, keep in mind that
the purfling creates the thinnest spot on the instrument. This may allow for the plates to
act as bellows when vibrating. If the purfling is set too far out, the rib and linings will
strengthen this low point and the sound may be muffled. If the purfling is set too far in, it
basically creates a smaller instrument and sound quality is also lost.

I am not a fan of double purfled instruments as it sets up an awkwardly vibrating

instrument. Some of these instruments have their outlines larger than the standard 14" and
this might help.

Start marking in a corner furthest from your body and try to go all the way around to
the center line. Use enough pressure to make a clear visible double line, do not force the
marker (using it as a cutter) as it is easy to get “off track” and make a mistake. Deep
marks are difficult to get rid of. Light marks can be ignored when remarking or a drop of
water can be placed on the mistake, the wood will
swell and fill in the marks. Turn the plate around
and continue marking to the corner. Make sure that
the end of the first sweep meets with the start of
the second. Continue in the same way for the other
bout.

When doing the “C” bout, if possible, do it in

one flowing motion. At the corners, do not overlap
the double lines, just have the inside lines meet
Figure 16.3
(Fig. 16.3 – for the purpose of this picture I have
made the lines a little deeper for clarity). We will do the remaining points by hand.

For the section of the back plate by the button, an easier way to do this is to make a
template. (Fig. 16.4) If your ribs have been separated
from the plates, you can use the rib outline as your outer
purfling curve, be sure to mark the center line. This is
another reason to have your upper bout ribs to be
complete to the center line. If you can't use the ribs, use
the inside rib template. You can also make a template
using some plastic template material. Place the rib
template down on the template piece, copy the curve,
reverse the rib template and repeat. Cut out the upper
block purfling template and file smooth. Then, using this

Figure 16.4 template, draw the two lines on with a very sharp pencil.
Make the lines just a hair narrower than the purling, as it
 16-3

is easier to widen the groove than to fill it in. It also allows for some correction if needed.
This will be marked more deeply later with the purfling knife.

When continuing the marks at the corner into the points, take a gouge or the Xacto
knife and continue the outside purfling line of the upper bout all the
way to within 2mm of the corner, (Fig. 16.5) this line should be
parallel to the upper bout edge although the very end can angle in
toward the "C" bout. Do the same for the rest of the outside lines of
the upper and lower bout corners. Then do the outside line of the "C"
bout purfling. Meet up with the outer bout lines about 4mm from the
edge of the corner - this will give you a "bee sting"

Cutting the Groove Figure 16.5

For cutting the actual groove, I made my first purfling knife from an old straight
razor that I ground, and ground, and ground to the appropriate shape (Fig. 16.6 and 16.7).
The blade needs to be thin and sharp,
and stiff. The width should be no more
than around 3/8” so you won't have
issues while doing the curves. Some
makers, including me, use an Xacto
style hobby knife; it works, but you do
have to be careful of the blade
bending. If you don’t use too much
pressure, it will work fine. I especially
like the style of hobby knife mentioned
in the tool appendix.

With either style knife, I find it

useful to push the tip into a dry bar of
Ivory Soap first to lubricate the knife Figure 16.6 Figure 16.7
point to allow it to glide through the wood easier. You will want to go over the same spot
with the knife many times rather than to try to cut down deep with force in just one or two
strokes.

Alternate between the inside and outside lines, otherwise, the knife tip will want to
start to bend in at an angle and create an off perpendicular groove and thus, possibly make
the groove too narrow at the base. When you get to the corners, work in the order as noted
below.

Be careful when running parallel to the grain lines, especially in the top, so that you
do not get “off track”. When crossing grain lines, it will be the tendency for the blade to
ride up over the harder winter grain, thus making the bottom of the groove uneven. This
will happen less if you use less pressure and more swipes of the knife. When going along
the softer summer growth, the blade will want to move more quickly, so you always need to
be in control of the knife.

The final depth of the cut should be approximately 2mm for the violin or viola,
 16-4

approximately ½ the plate thickness. Too deep and the edge will be weakened too much,
whereas too shallow and you might go through the purfling when carving the channel. You
want clean lines, not overly deep ones. You must also be careful to make your cuts at a 90°
angle to the plate surface, otherwise the purfling will be too tight at the base, causing it to
not go in properly, or too loose at the top making for an ugly job and potential for buzzing
later on.

When you get to the button area of the back, first just follow the pencil lines that you
drew making a very light mark, similar to the
marking gauge. As soon as you have a clearly
marked knife line, erase the pencil lines and the
check the curve from top and side views, adjust as
necessary. Then proceed as you have done for the
rest of the cutting. Extra care should be made not to
cut too deeply here so you don’t weaken the button.

When cutting the corners while doing the bee

sting, the outside line of the “C” bout is first (1),
stopping where it meets the upper bout line. Then
proceed to the outside line of the upper or lower bout
(2), then the inside “C” bout line (3) and lastly the
Figure 16.8
inside bout line (4). (Fig. 16.8). Cut in the direction
of the arrows (away from the point, so that you don’t break off the fine bit of wood where
the two inside lines meet. Don't forget to alternate the different lines so you end up
bringing them all down to the final depth at the same rate.

Regardless of what type of knife is used for most of the cutting, use the Xacto knife
to do the fine thin cut of the long point or “bee sting”. Using the back of the blade and
pulling up from the bottom of the groove is certainly acceptable.

As mentioned above, a number of mechanized versions of purfling routers are

available. Some makers use an overhead pin
router setup to thickness the edge, cut the

Figure 16.9
purfling groove and to do the channel.
When doing the purfling this way,
marking the purfling lines is not
necessary, although OK to still do so.
However, the mechanized versions of
Figure 16.10 cutting the groove can only reach to
 16-5

where the two purfling pieces meet (Fig. 16.9) because of the narrowing of the two grooves
merging into one towards of the “bee” sting, so from this point, it still needs to be marked
and cut by hand.

Fig. 16.10 shows the use of an overhead pin router for the process of cutting the
purfling groove. I have seen some other handmade versions pictured on the internet, the
two most important parts are making it with near zero movement tolerances. In other
words, when you are dealing with a purfling groove of 1.2-1.3 mm in width, you can't have
any movement (play) that makes that groove wider. The other issue is that if you are going
to the trouble and expense of making one of these so that you can do all three procedures,
it needs to be foot operated. The chuck of the drill press head of mine is attached to the
router by means of a series of pulleys and some aircraft cable which connects the plunge-
arm to a foot pedal. A much cheaper handheld tool that just does the purfling groove is
shown in Appendix 1.

Once the purfling groove is cut all the way around, the material between the lines
must be removed. The depth needs to be that
of the purfling or about half of the plate
thickness for a violin or viola. Most of the
waste material, if the groove was cut deep
enough, will start to fall out with gentle
prying, for this, we use a Purfling Picker.
(Fig. 16.11) This tool is basically an offset
narrow chisel and must be slightly thinner
than the width of the groove.

When picking out the wood in the

points, be extra gentle at the intersection,
again so that small bit of wood at the point is Figure 16.11
not broken off. It may be necessary as you
are “picking” to use the knife to make some additional cuts if a small area is still not quite
ready to pop out. The bottom of the groove should be as flat as possible. If there are holes,
glue can collect and years later come loose and rattle. This is the worse rattle to ever find
as a repairman, so do everyone a favor and try to make the bottom of the groove flat. As a
maker, part of your job and responsibility is to not only think of the first user, but the
generations beyond.

When you are finished, it should look like this (Fig.

16.12. Some makers finish the “C” bout sections first,
pick out the material and glue in the purfling before they
pick out the other bout material. There is no advantage
that I have seen to either way, but I insert the “C” bout
purfling before proceeding to the outer bouts.

The purfling is best bent, especially at the corners

or it is subject to breaking. The bending iron does not
need to be as hot as it was for the ribs. To hold the
Figure 16.12
 16-6

purfling against the iron, just use a block of wood and don’t bend too quickly. Just as there
were rough edges on the cutter side of the linings, when purfling is made, one edge is rough
and has a slight burr on both sides, just like the rib scraper gets when properly burnished.

To remove the burr, hold the purfling down on the bench and lightly scrape off this
burr at a slight angle, all we are trying to do is remove the burr and not make the purfling
smaller at its base. Even the back edge of the Xacto knife will work for this and may be a
little easier to control. If you will be making a lot of violins, you can make a scraper with a
small “V” groove in it so the purfling can pass through the V and de-bur both edges at the
same time. This de-burred edge will be the side that is glued down to the bottom of the
groove.

If the purfling is a little snug in the groove, take the scraper burnisher and rub it
along both lengths of the black sides, this will make it easier to insert. This will compress
the material slightly; the glue will swell the material again making the fit tight.

When supplied for a single instrument, purfling for a violin comes in three long
pieces and is easiest bent for use as below, only cut the purfling piece of the long strip after
it has been bent, that way you will have something to hold onto.

1 – 2 “C” bouts and & 2 Lower bouts

1 - 2 “C” bouts and & 2 Lower bouts

1 – 4 Upper bouts

NOTE: The “C” bout is bent, fit and glued in first (Fig. 16.13) and then let dry before
continuing. This was the way I was
taught although today I glue them all at
the same sitting. It's harder, but I have
more control and I can do the "bee
stings" at the same time. Gluing the "C"
bout first will make it very secure when
trimming for fitting to the adjoining
piece.

Using the utility knife, fit one end

of the "C" bout purfling tight into the
Figure 16.13 corner, so that it will properly follow the
curve and not slide back.

To apply the glue, use a small piece of wood that is thinner than the groove and an
artist's spatula. Slightly warm the plate section and purfling piece that you will be gluing
with a hair drier or a lamp set close to the surface. Warming the pieces keeps the glue from
gelling too quickly and gives you a little more time to work. Use the wood piece to get glue
into the corners, and the spatula to do the rest of the curve. Start with the center of the
bouts and move toward the corner and end, this keeps the end grain area from shrinking
too fast. Don't worry about being a little sloppy as getting glue outside of the channel is not
a real problem. Use glue that is a little on the thin side. Don’t forget that the scraped edges
of the purfling go down.
 16-7

Start in a corner and press one (or both, if you choose to do both parts of the
corners at the same time) of the "C" bout purfling corners in and push in as far as it will go.
If you do choose to do both at the same time, only put glue in half of the "C" bout, the
other half will be glued with the other external bout purfling. After the corner is pressed in,
push the rest down into the groove. Use the small hammer and tap the purfling down until
it is all the way seated into the groove. When glue is applied, the wood will shrink at the
corners and at the upper and lower ends of the instrument more than along the areas where
the groove is parallel to the grain.

If you feel that the point is not in as far as it should be, hammer from the center
towards the end. Clean out any glue that has settled in the outer bout grooves using a small
stick of wood. Also, clean up the entire area with a clean brush dipped in warm water but
keep it away from the unfilled groove so that the groove does not swell. When inserting the
glue in the groove, try not to get too much glue outside of the groove. Clean it all up well
so when you are trimming the purfling out for the other pieces, dried glue won’t dull your
sharp knives.

When the “C” bout purfling glue is dry, at least 5 hours or so, trim the ends of the
"C" purfling, so that it pairs up perfectly with the ends of the outer bout purfling pieces, and
the individual black/white/blacks of the purfling match up to each other. This is also where
you make the "bee sting"; its tip should not be any closer than 2mm to the edge of the
corner as it could weaken the plate tip where it overhangs the rib. Keep the inner black and
center white areas the same width on both halves of the joint; this will maintain an almost
invisible seam.

You will also find that using the knife both right side up and upside down will be
useful. (Fig. 16.14) Be careful when
trimming the purfling that you don't cut too
much of the inner black, you can't put it
back and it is hard to make the matching
outer bout piece fit. Leave the outer black of
the unglued purfling piece extra-long as it
will become the bee sting.

Glue the purfling in the same way as

Figure 16.14
before, with the corners first. When well fit,
they should meet seamlessly. (Fig. 16.15)

When joining two pieces of purfling by

the center seams, they should not meet
directly on the seam as pressure could force
the seam open, but rather, several Figure 16.15
centimeters away. Traditionally the seam is
 16-8

on the bass side of the upper bout and treble side of the lower bout. This is so that the
seams are not under the playing hand or chinrest areas. When making the seam, the
purfling should be trimmed at an angle from top to
bottom, not side to side, this is referred to as a scarf
joint. (Fig. 16.16)
Figure 16.16
Some makers apply a layer of thinned glue
(called sizing) over the purfling to make the wood swell and fill in any gaps, but this glue
size may dull the channel gouge or power router bits when cutting the channel. It would be
best to wait until the channel is finished to apply any sizing that is needed, but it must still
be very thin or varnish will not adhere well in that area and the varnish will look different as
compared to the surrounding area.

If you get good at fitting purfling, a single piece can be used all the way around each
upper or lower bout on the back to avoid a seam. If using one piece, care must be taken
not to make it too long, as hammering it into the groove will put too much stress on the
points. Don't make it too short or it will pull away from the points or not fit and you will
have to cut it in the middle during the gluing process and then patch it. The top can always
be done in separate pieces for the treble and bass sides of the upper and lower bouts, as
the neck and saddle will remove them anyway; they can be left short of the center seam by
1 cm on either side. If you try to do the purfling in one piece, practice with the top.

Channel

Once all of the purfling is in and the glue is dry, a shallow channel is cut into the
edge, using the same technique that was used above when bringing down the edge
thickness. A line is put around the perimeter of the edge 2-2.5mm in from the edge,
approximately 40-50% in from the edge toward the purfling. I use a spring divider with one
leg ground shorter than the other to scribe the line, but a pencil divider will also work. In
the corners, maintain the same distance from the edge, not the halfway point from the edge
to the purfling.

Using a 6-10 mm gouge, cut down about 1mm in depth. (Fig. 16.17) Keep the
outside line as clean as possible (Fig. 16.19). One advantage to using a point divider
instead of a pencil divider to
make this line is that you
already have “cut” the outer
edge of the channel. The
purfling will be at the lowest
part of the channel.

Figure 16.17
 16-9

To keep the outside edge clean, cut into the grain (Fig. 16.18), what matters is the
outside line, not the inside line. (Fig. 16.19)

Fig 16.19 was done with a pin router) When using the pin
router, just like when doing the purfling corners, the router can't
go all the way into the corners. The remaining small amount will
still need to be done by hand with a gouge.

After the channel is gouged all the way around, finger

planes are again used to gently sweep the curve from the bottom
of the gouged channel into the arch that was previously made
(like the bottom curved line in Fig. 16.17). Finger planes of
different sizes and even a very small one with an extra round sole
is useful in this stage.

Figure 16.19
A number of different shaped scrapers are also used to
smooth this transition and to scrape the rest of the plate smooth.
(as seen in Appendix 1) Two that work well for the general plate
scraping are shown in the Patterns Appendix 4. The one with
Figure 16.18
the tighter radius curve is to blend the body surface into the
channel area. These scrapers are made from spring steel approximately .3mm or .011”
thick. Smaller ones with the tighter radius curves work well in the purfling channel area.

When doing this type of scraping work, it is very useful to turn off all the lights
except for the swing arm light and block out any natural light from windows. Position the
light down low so that it creates shadows of where the high areas are. Scrape at those
areas and blend trying to avoid any abrupt curves or flat spots. Be careful that the trailing
edge of the scraper does not hit the edge and round over the crisp edge line. Scrape with
the grain, (Fig. 16.20) if you scrape against the grain you will get fuzzy edges.
 16-10

When finished, you should have a smooth plate, with gentle curves and a clean edge
line around the channel. (Fig. 16.21) We
will round over the edges later. On the
Maple, and if you are really careful on the
Spruce, some sanding can be done at the
very edge over the purfling up to the
ridge. However, it's best to not use just
your fingers but to use something a little
harder to back up the sandpaper. One of
the things that can be used effectively is
a piece of a poly cutting board that has
been cut to the proper shape.
Additionally, I have used a 1/4" hot glue
stick and commercially made rubber
sanding pads that come in different Figure 16.20
contour shapes.

Figure 16.21

Figure 16.22 shows the progression of the purfling channel through the different cuts. The
curves and purfling have been greatly exaggerated for easier understanding.
 16-11

1. The purfling has been glued in

2. A channel is cut with its low point

set just inside the purfling position.
The top of the curve is just outside
the outer purfling edge.

3. The thickness of the plate at the

low point of the curve should be
around 3mm. It can be slightly
thicker in the "C" bouts.

4. Mark a position about half way

between the outer purfling line and
the edge. This will be the outside
position of the second cut.

5. The inside edge of the second cut

will come to just inside the purfling.

6. Using finger planes and scrapers,

blend the first and second cuts and
then finish-up the arching.

Figure 16.22
 17-1

Ch. 17 - Back Graduation

Before removing the plates from the ribs, assuming you did the purfling by hand and
they are still attached, many makers use “registration pins” to
be able to easily locate the same position on the ribs when
doing the final gluing. This has been done for hundreds of
years and also creates a nice “look” under the varnish. Every
maker has their own way of doing this. I use round
toothpicks. (They work well with the 1/8” size temporary
"rivet" pins.) Whatever you use, find an appropriate size drill
bit so that the “pin” will be tight.

Just inside of the purfling, I drill a hole at each end of

both plates, just off-center of the center line. You don’t want
it on the center seam line as it can put stress on the seam. It
is best placed on the lower treble, non-chinrest side, and the
upper bass side away from where the hand is in the upper
positions - the same side where the purfling is joined, when
needed, on the back. (Fig. 17.1) The hole needs to go
through the plate and into the block, so be sure it is close
enough to the center seam to go into the block and not too far
Figure 17.1
in from the purfling. The exact location is up to you. Do not
glue in the pins at this time.

NOTE: We use registration pins so that the plates can be repositioned quickly when they
are ready to be re-glued the ribs. Some historians theorize that some of the great masters
used the pins as a way to hold the plate down to the workbench while they were working
the wood. Another theory is that the pin locations aided in the layout of the "f" hole
placement, although this would only work if the pins were on the center line.

Now that the outside of the plates are basically finished, it is time to remove the
back from the ribs, leave the top on for now. With the large butter knife that you used to
split the block wood, gently work it into the edge at one of the openings between the glue
dots. Keep the blade perpendicular to the grain while maintaining a large portion of the
blade in the opening. This will keep the wood from cracking. The glue will “pop” loose and
the top will come off. (Be sure to hold onto both the top and the ribs so that when the last
glue spot gives, the parts won't go flying).

With finger planes and scrapers, thin down the inside remembering to leave the flat
gluing surface for the blocks and ribs. As before, you may need to use a toothed blade in
the finger plane to avoid chips, especially important as you get very close to the final
thickness. Stop using the finger planes 0.1-0.2mm from the desired final thickness and
then finish with the scraper.

While doing the thinning, tap tones are used to determine where to thin. By tapping
the wood at certain places, we can hear the frequency that the wood vibrates at. There are
two different places on the plate that need to be checked. First while holding the top
between the thumb and another finger at the soundpost spot, tap the instrument on the
 17-2

edge while listening closely to the wood. The second location to tap is determined by
holding the violin on the bass side's upper bout, half way between the center line and the
edge and halfway from the upper edge to the corner. This will
be the upper quadrant. While holding here, tap at the soundpost
location.(Fig. 17.2) For a violin back, most makers feel that the
optimum note to achieve is F - F# in the upper quadrant and C#
at the soundpost.

To help identify the tap tones, I like to use a chromatic

electronic tuner, after hearing the pitch I will hum the note and
check that on the tuner. Some people use a chromatic pitch
pipe, if you have a piano or a keyboard you can also use that.
Some pieces of wood "ring" so well, the tuner can actually
"hear" the pitch.

NOTE: The clarity of the note is more important than the actual
pitch. Brighter tones usually mean hardwood or thick
graduations while dark tones come from thin graduations and
soft wood.
Figure 17.2

When thinning out the plate, if the tap tone is high

remove wood at the 8 and 7 cm line (see Note below) until
you reach 3.4mm. If the tone is low, remove wood from
the center toward the cheek (red arrow) areas, all 4, until
no less than 2.3mm. Remove wood in the direction of the
tone or tones that need to be raised. Leave the soundpost
area thick, at least 4.5mm. The channel under the purfling
should not get any lower than 2.7mm in the corners and
"C" bouts and 2.5 in the upper and lower bout channels. If
you go below 2.5 in the channel under the purfling, you
may go through and expose the purfling, making the edge
too weak. Thinning between the “C” bouts will lower the
pitch the fastest so go slowly here. If the pitch needs to be
lowered, remove wood from the end - do so on the end or
ends that need to be lowered.

NOTE: Because of the arched shape of the plate cutting Figure 17.3
through the lengthwise grain, the shortest length grains
created are those that occur at approximately the 7cm point from the lower edge and 8 cm
from the upper edge.

The pin press or drill press can again be used, but be very careful and don’t drill
closer than 0.5mm. The pin press can be used within .2mm. Thin slowly and check the
 17-3

tones frequently, don’t thin lower than measurements in Fig. 17.3.

When all the scraping is done, sand the inside surface with 150 then 220 grit, lightly
dampen the wood in between grits. If you are at all unsure of the strength of the center
seam glue join, it is a good idea to add cleats at this time.

A cleat is a small piece of wood, of the same species of wood that it will be going on.

Figure 17.4 Figure 17.5

The grain of the cleat is oriented such that it is angled up to 90° to the wood it is glued to.
Some makers use square cleats while others use diamond shaped ones. I have also seen
round cleats and even some that are set into the wood like patches, although I don’t advise
this. Whichever style you choose they should be no more than around 10-12mm wide. You
are not trying to add weight just a little more strength across the glue seam, they should be
no more than 1.5-2mm thick. They are glued on first and then the top shape cut in place.
Lightly sand when finished if needed. They should basically be pyramid shaped when
finished. Leaving a flat area on top is also acceptable, like a pyramid with it's top stone
removed. Place them about 2 inches apart all along the seam. (Fig. 17.4 and 17.5)
 18-1

Ch. 18 - "f" Holes

The “f” holes need to be laid out so that they look nice and are spaced correctly. The
first thing to do is to mark the
bridge position or Stop. (Fig.
18.1) This, on a standard 4/4
violin, is 19.5cm from the top
edge by the neck. A faint line is
drawn from edge to edge. Next
comes the center line. If you did
everything correctly, the glue
joint will be in the center, but
double-check it anyway.
Figure 18.1

NOTE: The Stop line has a ratio with the neck length. The stop location is 3 parts to the
neck length of 2 parts. This ratio is called the Mensure and is 2:3 on a violin and viola. The
neck length is measured from the top edge to the start of the nut. Take the stop length, in
this case, 19.5cm as mentioned above and divide that by 3. You get 6.5cm. Multiply 6.5 x 2
and the result is 13, the standard neck length.

Measure the widest section of the upper and lower bouts and divide by two; this will
be the center of the instrument. Mark a line on the center line up from the Stop from 20-
30mm. Measure up from the Stop 25mm and over on each side of the center line mark,
20.5-21 mm. (This is based on a standard bridge width of 42mm). Mark a line parallel to
the center line going up about 2cm. (This will be the inner most point of the "f" hole's upper
eye. Next draw an arc using a pencil compass in from the “C” bout edge 12-15 mm for the
position of the lower “f” eye.

You now have three points to set the “f” template on. The upper eye touches the
upper line, the inside notch is centered on the Stop line and the lower eye touches the arc.
By pivoting the “f” from the upper eye line and adjusting the distance from the edge using
the 12-15mm arc, you can change how slanted or straight the “f” holes are in relation to
each other. "f" Templates are
available for several models of
4/4 violins, but not for small
size instruments and violas.
Print out the pattern in
Appendix 4 to the length
needed and make a template.

NOTE: The idea is to make the

"f" holes not too straight and
not too slanted, but to also keep
the sides of the “f” holes as
Figure 18.2
parallel as possible to the flat
plane of the top plate when viewed from the side. (Fig. 18.2) It may even be necessary to

1
 18-2

remove a little more wood from the top arch in certain areas to make this happen. A small
drop in the lower wing will occur after it is fluted and cut free.

NOTE: Short “f” holes produce a weaker but more comfortable sound which might be good
for violas, while long ones produce a rough, nasal sound. The minimum space between the
upper eyes is violin – 40mm, viola – 48mm, cello - 90mm. For a narrow "f" spacing, a
narrow bridge will probably be needed. If the "f"s are placed too wide apart, the sound will
tend to have a rougher sound, whereas too close the sound will be pinched, partially
because the bridge feet will be pushing down too close to the edge of the "f". If the space
between the sides of the "f" goes over 8mm or so at the bridge, the result will be less
projection. Too narrow, less than 6mm, and it becomes difficult to set the soundpost.

Once the pattern is laid out and you are happy with it, drill a 1/8” hole in the top
between the sides of the “f” in the center between the
notches. Drill another hole in each “eye” of the “f” holes at
the X as marked in Fig. 18.3.

These holes will be where the jeweler's saw blade is

placed to cut out the “f”
holes. (Fig 18.4) After you
Figure 18.3 have done a few, you can
use a drill bit that is closer
to the size of the upper eye. An "f" hole drill can be made -
see below.

Just as we did for the back, it is now time to

remove the top from the ribs. Because the top is softer, it
is also more susceptible to splits, so be extra cautious.
Since the top is softer wood, and so thin, it is easier for it
to warp. Start the remaining work on the top plate when
you have time to get it finished in the shortest amount of
time. Even so, clamp it onto the ribs with about 6 body
clamps each time that you are done for the day.

Place a fine tooth blade in the fret saw, also known Figure 18.4
as a jeweler’s
saw, tightening up the blade in the bottom clamp
only. Place the other end of the blade, up through
the hole in the long section of the “f” and then
while squeezing the saw frame, tighten the upper
clamp. The blade will now be under tension. (Fig.
18.5)

Make the saw cuts in the direction of the

arrows as illustrated in Fig. 18.6. Do not cut
through the points at the top and bottom of the “f”
Figure 18.5 holes; this will be done much later after the
bassbar is glued in. Leave a couple of mm’s on

2
 18-3

either side of the point. When done sawing in one direction, while still using a sawing
motion, slowly turn the top plate around so that the blade will head down the other side of
the “f”.

NOTE: The direction of cut will

keep the blade from cutting too
fast and past the line when sawing
in the soft summer growth of the
longer grain areas.

Although this operation can

be performed with the plate

Figure 18.6

hanging over the edge of the work bench, it is easier to

make a “V” cutting board that clamps or screws down
to the bench. Once the long portions of the “f”s are cut
out, (Fig 18.7), move to the eyes. Make your first cut
(1), (Fig. 18.3) around the circle and to the point and
finish up with a second cut (2) along the flat bottom
edge of the wing. I prefer to use the knife for cut (2) as
the saw can put extra strain on the fragile wing point.

The cutting direction here is very important, so

that the fine fragile
points at the end
of the circle do not Figure 18.7
chip off. Keep a
clean work area just in case, you never know when you
might need to look for a minuscule piece of wood to
glue back on. Be careful when sawing around the circle
as the blade will tend to travel easily along the grain
line, avoid pushing the blade with
too much pressure and just let it
glide itself through the wood. Be
sure to leave a couple of mm’s of
Figure 18.8
wood at the points to be cut
through later. (Fig. 18.8)

As mentioned above, some makers use individual specially

designed "f" hole cutters for the two eyes, but they are fairly
expensive and I never found a need. If you will always be doing the
same design and using the same size circles, you could make your own
from an appropriate-sized sharpened metal pipe placed in a handle. A Figure 18.9

3
 18-4

small diameter rod is used to push out the wood plug. (Fig. 18.9)

Once the “f” holes are cut out, use finger planes to graduate the inside of the plate
to 4.5mm, leaving the lower “f” wings areas thick.

With the top now at 4.5mm, except for the wings, clean up the “f” holes using a
knife and finish with small files if needed. Cut in the same direction as the saw and always
remember not to cut “into” the grain. Do not cut through the points of the “f’ holes. Check
while cutting to make sure that the middle 3-4cm of the “f” holes is 7mm wide; this is so
that a standard 6mm soundpost will fit after the varnish is applied. It should be able to be
put into the “f” anywhere within about 1.5-2cm above or below the notches.

4
 19-1

Ch. 19 - Top Graduation

After the “f”s are finished (except for cutting through the points,) graduate the top

Figure 19.1 Figure 19.2

with finger planes and scrapers to an even thickness of 3.2mm, except for the lower wings
of the f holes. The outside of the lower “f” wings are now fluted for a nicer visual effect.
Using a flat fluting gouge, make a shallow indentation, like in Fig. 19.1, that tapers into
the "C" bout channel. Then scrape it smooth. (Fig. 19.2) Notice that the points are still
connected. After the fluting is done, graduate the inside of the wing area also to 3.2mm.
Some makers will leave the plate a uniform thickness and that should be about 3mm, so if
you plan to do that, scrape it down now. The depth of the fluting is an artistic comment that
is up to the maker.

Now comes the time for tap tones, proceed as you did for the back plate. For the
violin top, the optimum note to achieve is F-F#, but anywhere from E-G is OK. To
accomplish this the same two places on the top need to be checked.

NOTE: The tap tones of the top will change after cutting through the points of the “f” holes
and when the bassbar is glued in. A rule to follow is to stop
scraping the wood when the desired tone is reached and
before cutting through the points. When the “f”s are opened
up, the sound will drop ½-1 whole step and will rise again
when the bar is inserted. The bar is then adjusted until the
note is again achieved.

NOTE: The clarity of the note is more important than the

actual pitch. Brighter tones usually mean hardwood or thick
graduations while dark tones come from thin graduations
and soft wood.

NOTE: When thinning out the plate, if the tap tone is high
remove wood at the 8 and 7cm line (Fig. 19.3) part of the
center of the outer bouts until you reach 2.9mm. If the
tone is low, remove wood from the cheek areas until
2.5mm. Thinning between the “C” bouts will lower the pitch
the fastest, so go slowly here until 2.8. Leave the
Figure 19.3 soundpost area at 3mm for added protection. The bottom of
the purfling channel should be no lower than 2.5-2.7mm, I
 19-2

like to leave it around 2.7 at the corners because of the repetitive removal of the top over
time. Although my numbers in the drawing look like they are on the edge, my intent is that
the measurements given are in the channel and inwards, the edge thickness is at 4mm.

The pin press or drill press can again be used, but be very careful and don’t use it
any closer than 0.1mm. For the Spruce, you can also hold the plate up to the swing arm
light to look at how thick the plate is, the dark areas will be thicker. Over time, you will be
able to feel the thickness change while sliding the fingers of one hand on both sides of the
plate.

As you do your scraping be sure to leave enough wood along the edge for the gluing
surface of the ribs (5-6mm) and blocks as you did with the back plate. Once scraped
smooth, the top is ready for the bassbar.

NOTE: Many reference books refer to nodes 2 and 5 specifically and I won't go into the
particulars of that other than with the following comments from my observations:

While holding the plate in the upper quadrant, for Mode 5, I tap the plate right in the middle
at the soundpost position, and at an edge in the C - bout for Mode 2.

Node 5 is more important than node 2

Node 2 on the top will be half the Hertz of Node 5

For a powerful Solo instrument, try to match the Hertz on both plates between 350-370

For an Orchestral quality sound, match both plates in the 330-350 Hertz range

For a Chamber instrument sound aim for 340 on the back and 320 on the top
 20-1

Ch. 20 – Bass Bar

The Bassar is made from straight grained split Spruce and can be made from the top
wood if you have a big enough piece left over. You will need a piece 270mm long x 18mm
wide x 6.5mm thick. A few millimeters thicker if the wood needs to be flattened on both

Figure 20.1
sides. The 18mm size is to give you
plenty of room for fitting and adjusting
the height. You can see in Fig 20.1
how the blank bar is superimposed
onto the plate.

Looking from the outside, Fig.

20.2 shows the relationship of the
“f”s, bar, soundpost, and bridge. Just
like the “f”s, the placement of the bar
is dependent on the bridge location
and width.
Figure 20.2
To determine the bar's location,
remember it’s a “Bassbar” so it goes on the bass side, measure down from the top edge and
mark the stop on the inside (19.5cm for a normal violin). Measure from the centerline along
the stop, 1.95 cm, this will be the outer edge of the bar and will keep the bar about 1.5mm
inside of the upper “f” eyes. Then divide the lower section (below the stop line) by 4 and
mark that distance from the lower edge. For the upper
section, divide the stop distance by 4.2 and mark off
that measurement. Both these marks should be placed
about 2cm in from the center line. This also works out
to around 7/9ths of the total plate length and about
4cm in from each end.

The angle of the bar is determined by

measuring 4/7ths of the widest part (“X”) of the upper
and lower bouts and mark. (Fig 20.3) If you have used
a 41mm upper “f” eye spacing then everything should
line up fine with the bar being about 1-1.5mm inside of
the eye. On older instruments, when doing a new bar,
it may be necessary to move the bar in slightly to
avoid being over the eye. The bar should be moved in
parallel to the 4/7th measurements.

Take your bar blank and flatten one side

Figure 20.3
 20-2

parallel to the grain. Plane down the other side until the bar is 5.7mm thick on one end and
6.2mm thick on the other. This will give a small taper to the bar with the thinner edge
being at the top bout. Using the all purpose knife, cut away some of the bar so that it is a
very rough fit. Place the bar on the top so that the inside edge of the bar sits on the inner
marks (the outside mark is really only for reference). Then using a fender washer with its
side against the bar, like you did with the plate overhang, draw a line on the bar with a
pencil; it will follow the inside curve of the top plate. Use a washer whose size will allow the
pencil point to be positioned near the bottom edge of the bar blank at the Stop. This will
give you a good rough outline of the shape of the bar.

At the two inner marks and the bottom mark, glue small blocks of Spruce to the top
so that the bar can be placed
repeatedly in the same location while
it is being fit. Use weak glue as these
blocks will be removed later. (Fig.
20.4) After the glue dries (in an hour
or two), the bar can be fit. Using a
finger plane and a knife, fit the bar to
the shape of the top. Many makers
use chalk rubbed onto the top, by
lightly pressing down and moving the
bar up and down a few mm’s, chalk
will be transferred to the bar. These
Figure 20.4
marks are the high spots and need to
be trimmed off. Keep doing this until the entire bar is fit. The bar is fit so that it is
perpendicular to the edge gluing surface plane. I have heard some makers fit it
perpendicular to the inside surface where the bar is glued, but I can’t imagine this being
good since the weight of the center of the bar will be moved toward the center of the
instrument rather than over the bar. It certainly isn’t normal, but it is probably just easier.

NOTE: I recommend sidewalk or artist chalk rather than blackboard chalk as the latter
contains some oil.

When finished fitting, I like to have a 1-1.5mm space (gap), between the bar and the
top, at each end of the bar. This gap, when the bar is glued in, creates a spring tension on
the violin top. This tension helps support the weight of the strings pressing down and
“pushes” back upwards. The bar should, when held in the center and pushed down at either
end, rock evenly all the way to the end without either pivoting on a high spot or twisting
side to side (kind of like a rocking chair's rockers on a floor).

This spring style bar is debated as to its need, but I find that it works better and is
actually harder to fit a bar this way then without a spring. In my reasoning, I cite the need
for a new bassbar from time to time that enhances a weakened sound. If the bar didn't
need some tension, why the need to replace it?

When completely fit, clean off all of the chalk as it may inhibit a good glue seam. You
will need 5 or 6 deep throat clamps and a protective piece of plastic or stiff cardboard. Be
 20-3

sure to practice clamp and inspect the join before you add the glue. You will need at least 5
deep throat clamps and a plastic protective strap.

Place glue all along the bar; put a clamp lightly on the center; then on the ends.
Tighten the center clamp
and then add 1 more on
each side. (Fig. 20.5)
Clean up any excess glue
with a very lightly
dampened paper towel or
mostly dry brush. The
glue should not be too
thin and the clamping
Figure 20.5
pressure should not be too
tight, or a line/bump will be left in the wood on the outside after the clamps are removed
and will show up in the varnish even if it is hard to see in the wood. If it takes a while to get
the bar glued and clamped in, use an alcohol lamp or hair dryer to warm up the bar from
the inside and clean it up again. You can even use a brush and wipe on some alcohol and
light it to heat the bar, just don’t use too much or it could burn too long and scorch the
plate.

When the glue is dry, cut through the points of the “f” holes using the Xacto knife.

There are two basic ways to approach the heights of the bassbar. (Fig. 20.6)

Version A. Mark the stop length on the bar, measure the length of the bar and divide
in half. Make a mark halfway between the middle mark and the stop. This will be the
highest point, mark it at 12mm from the top. Halfway between this spot and each end,

Figure 20.6

mark at 8mm. The ends of the bar will be 4mm from the top. Create a gentle curve that
connects these points.

Version B. Mark where the points of the “f” holes are in relation to the bar and mark
the ends at 4mm. The section from “f” point to “f” point in the middle stays basically flat,
then do a gentle curvature from this plateau to the end.

Using a chisel and finger planes, trim down the bar to 2mm above the marks. Listen
to the tap tones, adjust the bar height to again achieve the tones that were there prior to
 20-4

inserting the bar. Lower the tone by removing wood from the center of the bar. You can
also listen to the bar's tones by grabbing the bar in the center and taping the ends of the
bar, a hard small piece of plastic is good for this. Trim off from the higher pitched end.

Once the pitch is correct, use finger planes to round over the edges of the bar, finish
with 150 grit sandpaper, wet the wood lightly, let dry and then sand with 220 grit. The very
ends of the bar are cut at an angle after the edges are sanded.

Some makers use some very thin hide glue and lightly coat the inside of the top
plate to seal the wood. This can help keep the top wood from being affected by high
humidity. Other makers use a different form of sealer that they apply to the entire inside of
the instrument body just prior to gluing the body together.
 21-1

Ch. 21 - Rounding the Inside Edges

The inside edge of the plate is now rounded using a flat finger plane, knife, crossing
file and flat file. The crossing file is used on the “C” bouts
and the corners, the finger planes and flat files used on
the upper and lower bouts. The knife can be used
anywhere, but just be careful. First trim a 45° angle off of
the edge with whatever tool you are comfortable with
using. Then finish up with the files to completely round it
Figure 21.1 over. (Fig. 21.1) Be careful not to file over the rib gluing
line and only file to half the plate thickness. When filed
smooth, sand with 100 grit, then 150. We will use a finer grit later.

NOTE: See Figure 22.7 in the next chapter for a complete set of steps to round the edges.

When both plates' edges are done, take the flat file and lightly go over the inside flat
gluing surface area of the plate to remove the pencil line and any glue residue, as it would
be very difficult to do so after the ribs have been glued on.

You now need to cut out space for the saddle. I was taught to do this after the
instrument was finished, but I find it easier to do at this stage. (If you position the pins as I
have or slightly further in, they will still do
the job of alignment to glue the plate in
place.) On the top plate, mark off a 36mm
width on the lower bout centering it on
the center line. Take the small hobby saw
and saw at right angles to the top's edge
along these lines until you have cut
through the purfling. (Fig. 21.2) With the
Xacto knife, cut down through the inside Figure 21.2
purfling line until the chunk of wood is
removed. Square it up using the knife and file. The depth of this cut out section should be
about 6mm. When you fit the saddle, small adjustments may be needed, but since you have
access to both sides of the plate at this time, cutting this out is easy.
 22-1

Ch. 22 - Gluing on the Plates

Before gluing on the plates, sand the exterior of the ribs clean, first with 150 grit,
then with 220, lightly dampen between grits. Make sure you do not round over the edges of
the ribs and only sand with the grain, not across it. You can glue sandpaper to a stick of
wood that is flat on one side and round on the other, a mix between the flat and crossing
file, but I find that a strip of sandpaper folded in thirds is stiff enough if you are careful.
Check to make sure that the ribs are still flat using the marble and adjust as necessary.
Check the rib corners, the pairs should be the same angle and the same length from the
center seam at the end blocks. Be sure that all the blocks have been glue sized so that
when you apply the glue before clamping, it won’t be sucked into the block's end grain.

If you didn't do so already, prepare some clamping blocks to protect the back and
top at the end blocks. Bar clamps are
preferred here to make the best
contact. The pads can be seen in use
in Fig. 22.1. Practice clamp first to
make sure that everything fits well.
Glue on the back plate first, using the
pin holes to position the plate. As
mentioned before, I like to use 1/8”
aluminum rivet pins as steel nails
would possibly leave a mark on the
wood when the wet glue is in contact. Figure 22.1

NOTE: There are two ways to glue on the plate, both have advantages and disadvantages.

1. Brush the glue on and then quickly put on the clamps. If you put the glue on the
plate first, warm the plate slightly with the swing arm lamp or a hair dryer so that
the glue will have a longer working time. If you get the set of 6 bout clamps, this
method is easier and faster.

Test clamp by placing the metal pins in the holes and then position the plate onto the
ribs. Put clamps on all the way around and check the overhang for evenness and adjust the
clamps as necessary. Remove the clamps and apply the glue. I actually prefer to put the
glue on the ribs, but care must be taken to not let it dribble down the inside.

2. Attach clamps, then apply glue by remove a few clamps and putting glue in the seam
using a spatula. This has the advantage of being able to work more slowly, but if
you are not extra careful, you could put too much glue on and it could dribble down
the inside.

Test clamp by placing the metal pins in the holes and then position the plate onto the
ribs. Put clamps on all the way around and check the overhang for evenness and adjust the
clamps as necessary. Remove both pins and the clamps from one bout; using an artist's
spatula, get a small amount of glue and work it into the edge. Put those clamps back on and
remove the next bout's clamps and continue all around. When finished re-clamping each
 22-2

section, clean up around the seam with a clean brush and some warm water. As you are
clamping, visually inspect the plate overhang again, it may be necessary to push in or out
the ribs a little especially at the corners where they may flare out some.

Because of the button on the back, a bar clamp is essential at this position. Because
the gluing surface for the upper and lower blocks is deeper than the spool clamps, bar
clamps are needed at both positions. Be sure to use clamping pads.

When the glue is dry, the form needs to be removed. If you are using a non-
collapsible form, just the lower linings are glued in. Before removing the form, make sure
that the upper linings are now bent, trimmed and fit and ready to glue in. Using a hammer,
lightly rap on each block in the area that sticks up from the form and towards the rib. This
is done in order to break the glue joint between the block and the form. With the butter
knife/opening knife, work it down into the seam to be sure that no part of the block is still
attached to the form.

With the violin resting on your lap and one hand on the form pulling up, take the
hammer and strike the top of each block. This will start the process of the form moving up
toward the free end. (Fig. 22.2) Keep tapping on the blocks while also working the form up

Figure 22.2 Figure 22.3

with your hands until it is freed from the ribs. (Fig. 22.3)

If you are using a collapsible form, push out the pins that hold the sections together,
slide the end sections into the center and out, and then remove the
remaining parts of the form.

Glue in the upper linings as before. When dry, trim them

down to the rib gluing surface as before, using the marble to make
sure that the ribs are flat. Round over the lining as before and
sand. Find the center of the lower bout rib's height at the lower
block. Drill 3/16” hole through the rib and block, making sure that
you keep it perpendicular in both directions. An assistant is useful
here to look at the direction you can't see.
Figure 22.4
 22-3

The blocks are now trimmed to size using the inside gouge for the corner blocks and
a chisel for the end blocks. The corner blocks should make a shallow smooth transition
curve between the outer and "C" bout ribs, but leave a small bit of block outside of the area
of the “C” lining that is embedded in the block. (Fig. 22.4) The end blocks should have a
nice curve, the neck block should be a little more square than the endpin block. This is
because the neck will be set into the upper block and it needs a little more wood on the
sides for support.

When the blocks are trimmed, sand all of the interior ribs, linings, and blocks, first
with 100, then 150 and 220 grit. Make sure not to round over the exposed edge of the ribs.
Lightly dampen between grits. As with the back, use the pins to register the top in place.
Glue on the same way paying attention to the overhang and clean up afterward.

When the glue is dry, break the edge to a 45° angle (Fig. 22.5 and 22.6) and round
over the outside edges using the crossing and flat files, knife, and finger plane as you did
the inside edges. Sand with 150 then 220 grit. When rounding the edge into the point of
the purfling channel, be sure to maintain a crisp line. You may need the scrapers again to
do some touch up as you go. See Figure 22.7 for a more detailed instruction on this.

Figure 22.5 Figure 22.6

1. Start by making two 45° angle bevel cuts with

fingerplanes, a knife and files.

2. File the inner points (RED) into two more facets.

3. Using only a file, create a smooth curve by joining the

4 facets. Finnish up by sanding with 150.

4. You will now have a smooth curve but will still have a
flat area on top.

5. Round over the top edge.

6. Do not round the top edge two much or you will lose
the crisp edge.
Figure 22.7
 23-1

Ch. 23 - Saddle
The Saddle is made from Ebony and can be purchased partially made. (Fig. 23.1)
These will be too tall, too long and too wide, but they
can still save some time.

To make one from scratch, a block of wood

measuring 36mm long x 8mm wide x 9mm high is
made. (Fig 23.2) It is best to use a chunk of raw wood
so that it can be split to see the grain (red line below).
Once you have a split piece of wood, plane and cut it to Figure 23.1
the above dimensions. Be sure to check the length
against the slot you cut out of the top plate. Measure in from the ends of the top of the

Figure 23.2

block, 9mm and mark. This will leave an 18mm flat section in the center for the tailgut to
cross over. Using a chisel, knife and round gouge, trim down from these marks to the top of
the top plate, checking frequently to see that it does not dip below the top. The center part
of the saddle should be brought down in height until it is 4mm above the top plate. With a
plane, cut an angle that goes from a position above the channel ridge point down to the top
plate where it meets the saddle.

To shape the outside edge of the saddle, use the plane and a flat file and trim it
down, copying the shape/curve of the top plate’s edge. The curve from the plate's edge
should seamlessly blend into the saddle. Lightly sand, but do not round over the sharp
edges. The saddle should not be a tight fit, but rather each end should have ¼- ½ mm gap
to allow the top to shrink over time. We don’t want the hardness of the ebony saddle to
cause a top crack. Many instruments over the years have developed “saddle cracks”
because they were fit too tightly. Glue the saddle in place onto the top and neck block.
 23-2

You can see in Fig. 23.3 that the tailgut needs a smooth transition curve to pass
over so that the pressure from the strings doesn't press either too far out or too far in on
the saddle. This pressure keeps the saddle in place and it could almost stay in place without
glue. If the height is too high, it can also pull free. However, in some cases with older
instruments with a high arch, a higher saddle may be necessary. It is also necessary to
sometimes adjust the height to either reduce or increase the string tension on the top, for
sound purposes.

Figure 23.3
 24-1

Ch. 24 - Neck and Scroll

Just like with the rest of the violin, carving a symmetrical and nice looking scroll is as
much about the proper steps and starting out symmetrical, as great woodworking skill or an
experienced artistic eye. All are important, of course, but a decent scroll can be made by a
novice. Just for clarification, the scroll is the rounded section at the top of the neck and
pegbox that has the three levels of turns. The neck block is made from Maple and should
match the ribs and back as closely as possible. The flame should go in the same direction as
the ribs. The neck itself is the area that you hold when playing and the peg box is between
the neck and scroll (where the pegs are inserted). The neck, pegbox, and scroll are all made
from a single continuous piece (although many old instruments, and some newer ones, have
a new neck portion grafted onto the pegbox for a number of different reasons).

So that you will understand when I refer to certain parts, Fig. 24.1 shows where
these parts are that I am referring to.

A. Scroll – the entire 3D piece

B. Peg Box – the inside
C. Peg Box Walls
D. Fingerboard Gluing Surface
E. Volute – the rotation
F. First Turn
G. Second Turn
H. Throat
I. Eye
J. Chin
K. Nut

Figure 24.1

The neck block should be quarter cut so that when looking at the end grain it will be
parallel to the fingerboard surface. First, using
the scroll template (Fig. 24.2) lay out the
roughly finished dimensions of 42mm wide at the
scroll end, by the height and length of your

Figure 24.2
template. (Fig. 24.3) Do not trace the template at
this time, you are just checking to make sure that the
wood blank is of proper size and grain direction.

Sometimes the wood that you pick for the

neck block has the grain direction tilted. (Fig. 24.4)
Check the layout and correct for the grain direction
(red line) so that it is as parallel as possible to the
fingerboard surface. This piece of wood was very far
Figure 24.3
 24-2

off, but still big enough to work once laid out and cut.

The heel end of the block can be a little narrower as it will only end up at around
36mm wide as opposed to the scroll end at 42mm, but it's easier if it's all the same width.
To determine “X” (Fig. 24.3) measure the rib height +
4mm for the top thickness + 6mm for the rise of the
fingerboard above the top. This will be approximately
40mm. “Y” is normally about 22mm. Leave the extra wood
for now, these measurements are only to help determine if
you have a big enough piece of wood for the neck block.

Now that you know that you have a viable piece of

wood, plane one side
(perpendicular to
grain), down to at
least to the level
below the small turn
of the scroll, about Figure 24.4
3cm. (Fig. 24.5) If you
have plenty of wood, plane the side down fully. Then
plane the fingerboard surface flat, parallel to the grain
and perpendicular to the first side. Plane the third side
Figure 24.5 (parallel to side 1 and perpendicular to side 2) until the
final width of 42mm is achieved.

Place the template on the wood block and clamp it in place so that the fingerboard
surface of the template is level with
the fingerboard surface of the wood
block. (Fig. 24.6) Trace the template,
first with a pencil and then with a
sharp pin awl pointer, including the
scroll turns and peg holes. (Fig. 24.5)
Clearly mark the mortise and nut ends Figure 24.6
of the template. If your template does
not have peg holes, see the repair section on bushings for an explanation of laying out the
holes.

Draw perpendicular lines across the fingerboard gluing surface at the nut indent on
the pattern and the mortise end
locations, use these lines to locate the
template on the other side, clamp and
trace the template again.

Cut out the profile (Fig. 24.7)

on the Band Saw using a 1/4” wide
Figure 24.7
blade if possible (better for the tight
scroll turn). Get as close as possible,
 24-3

but don't go over the line. The band saw is very useful here as hand saws are too difficult to
control cutting this thickness accurately. A heavy coping saw blade used with plenty of room
will still work, but be careful in the throat area under the scroll as it is easy to get off track.

Using a drill press if possible, drill the peg holes ½ way in from both sides using a
3/16” bit. (Fig. 24.8) If you do not have a drill
press, get someone to spot for you while you drill
these perpendicular holes. I use a brad point drill
bit as they do not wander off center as easily. If
not using a drill press, using a smaller diameter
drill bit might be good, then once the holes
connect, drill all the way with the thicker drill bit.

NOTE: The E, A and D peg holes are in a Figure 24.8

straight line so the other strings will pass over the peg to prevent rubbing and damaging the
string or affecting tuning. (Fig. 24.8) The top of the scroll should be about 1-2mm below
the fingerboard gluing surface.

Using the general-purpose knife, make a 45° angle cut along the top and back of the
peg box and around the scroll, (Fig. 24.9) down to the lines that were drawn for the scrolls

Figure 24.9

profile. Then using gouges (the block gouge works Figure 24.10
nicely here), chisels and files remove the excess wood
down to the line, keeping the surfaces perpendicular to the sides (Fig. 24.10), where
possible, depending on the width of your planed block. This could be a fair amount of work
depending on how close you were able to cut with the band saw.

Measure and mark spots for a center line all the way around the scroll and pegbox
and into the throat – use a bendable metal or plastic
straight edge to connect the dots.

Mark out the widths for all locations all the way
through the first turn of the scroll into the throat, as well
as the front and back of the scroll. You can also lay out
the shape of the pegbox if desired. A very flexible straight
edge can be made from a plastic notebook cover. (Fig.
24.11)

Figure 24.11
 24-4

Violin Measurements

Top of scroll - narrowest point - 12mm (A)

A
Width at the second turn – 24mm (B)

Width at eyes - 42mm (C)

Width at the first turn - at the throat 28-30mm (D)

Front of pegbox at throat – 20mm (E)

Back of pegbox at throat – 22mm (F)

Front of the pegbox at the widest - 25mm (G)

Back of the pegbox at the widest – 27mm (H)

Back of pegbox at nut – 26mm (I)

Nut – 24mm (J)

Peg box walls at throat, 4.5mm(top), 7mm(bottom) (K)

at widest, 5mm (top) (L) , at nut 8mm(bottom) (M)

As you can see from the measurements above, (Fig. 24.12) the back of the pegbox
is wider than the front. Connect the measurements with smooth lines. The narrowest width
of the scroll should be just forward of the top.

NOTE: By using these and additional scroll measurements, dealt with later, you will have
set up some angles in the turns of the scroll. Templates can be made to guide you in
keeping the two halves of the scroll symmetrical. A guide to making these templates will be
found in the templates appendix.

You should now have lines marking the

fingerboard width, the top of the pegbox width, all
the way around the scroll and down the back of the
pegbox. When laying out the back of the pegbox,
at the bottom, also called the chin, use a compass
set at 13mm.

Place the neck block, fingerboard surface

facing down, on a flat surface. With a square, draw
a line on the sides of the neck block coming up Figure 24.13
from the bench surface. (Fig. 24.13) but clear of the nut side of the scroll.

Using a Band Saw, with the fingerboard surface facing up, cut from the mortise end
of the neck block toward the scroll, (Fig.
24.14) When you get to the nut, pull the
neck block out of the bandsaw, flip it over,
run the blade in and continue the cut from
the back side as it is a little wider, per the
Figure 24.14
 24-5

layout, than the front of the pegbox and you can't see the back while you cut. Be careful to
stop before the saw blade hits the scroll line above (Fig. 24.13).

When finished, using a back saw, saw these pieces off using the cut that was just
made and the line across the pegbox as your
guide. (Fig. 24.15)

Using a knife, break the edges of the

peg box, just as you
did for the neck block
in Fig. 24.9, making
45° cuts down to the
lines. Then using
chisels, the in-cannel
gouge, finger planes Figure 24.15
and files; trim and
smooth out the sides of the pegbox down to the line. You do not
need to deal with the sides of the fingerboard area.

Figure 24.16 If you didn't already mark the widths all the way around
the scroll for the first turn, do
so now. (Fig. 24.16) It is easiest to measure from the
center line out to each side. Starting from the back of the
pegbox at the throat, continue the lines up to the top of
the scroll (12mm) and then around the front all the way
to the widest spot by the throat (28-30mm). For
measuring the width accurately, use a Vernier caliper.
A divider or a ruler can also be used.

Making small cuts, (Fig 24.17) continue cutting

Figure 24.17
around the scroll using a small Japanese or Back saw,
cutting off small triangles. I made all of the cuts at the
same time to show the progression, but you can do
one, then remove it,
and then cut another
until you have gone
all the way around.
Make the cuts close to
the pin marks making
sure that you keep
the cuts perpendicular
Figure 24.18 to the face of the
scroll. You do not want to tilt the blade in towards the
scroll's turns. Remove the triangle of wood by cutting at
90° to the first cut, staying outside the line. (Fig 24.18) Figure 24.19

Once you have sawn around the scroll 1 time, you use different size scroll gouges
 24-6

to round out the flat saw cuts and carve the scroll close to finished shape. (Fig. 24.19) Use
the gouge that is closest to the curve you want that still allows you to cut in the center, not
the edges of the gouge.

The gouge is generally best held low on the blade rather than from the handle, (Fig.
24.20) it gives you more control over the tool. (The
picture shows a finished scroll but I wanted to show the
position of the hand). You can also use chisels, but the
gouges will leave a much smoother curve. Be careful to
keep at right angles and not to cut in as you are gouging
around the circle.

As you
are cutting
around the turn,
Figure 24.20 also use a gouge
to cut in on the
other surface. (Fig. 24.21) This surface can be as
deep as you like as it is a place where you can use
your own style. Keep everything symmetrical,
constantly comparing the two sides off of the
center line from each other.

NOTE: To assist when carving especially strongly Figure 24.21

flamed wood, keep a spray water bottle or wet
cloth handy to keep the scroll wet while carving. Do not soak the scroll in water as the scroll
may warp and tilt to the side, this is a common issue with cheaper instruments.

NOTE: A good set of scroll gouges will have approximately the following sizes: Sweep #7 in
mm widths of 9, 14, 16, 20, 22, 25, 30 and Sweep #4 – 12, 25. Use the gouge that closely
meets the curve that you are trying to cut, but slightly flatter. The lower sweep number
gouges (#4) are a flatter curve and are used mostly when cutting in on the face, not so
much around the turns.

Don't make a knife edge along the scroll's edges, leave a 1mm ledge all the way
around the edge of the scroll (Fig.
24.22). When cutting with the gouges,
cut as smooth as you can. Use 150
sandpaper to smooth around the turn,
but not on the face, we will scrape that
later.

When both sides of the first turn

are done and as smooth as you can get,
mark the width of the second turn (24-
Figure 24.22
26mm) and continue the line around.
Keep the second turn lines somewhat Figure 24.23
parallel to the first turn. (Fig. 24.23 and 24.24) End the second
 24-7

turn lines at the full width of the block at the throat location. Carve with the gouges as
before, obviously using smaller gouges. Smooth out as before
with files and 150, again not on the face.

While you are going around, let your eye tell you what
you like; there are no real rules here. I will often cut below the
layout lines depending on the mood I am in, just make sure that
whatever you do, you make both sides symmetrical. Be sure
that the center line is always visible. There is nothing worse than
a crooked and lopsided scroll. Figure 24.24
Layout the final turn. The line should vanish at the full width of the block, at the
back of the scroll just past the throat. (Fig. 24.25) This again is
to taste; some makers have even done 4 turns around the scroll,
(Maggini style). Carve with gouges and smooth out as before.

Make any adjustments to the front view profile again

comparing right and left of center. I wait to do my final scraping
and sanding since the scroll still needs some attention at other
areas. File finished is close enough at this time.

With a knife, score a line just inside the inner pegbox wall
lines. Before cutting out
the pegbox, it is a good
Figure 24.25 idea to draw a pencil line
about half way between the
Peg holes and the back of the scroll, (Fig. 24.26), this
is about 5mm from the back of the scroll. You need to
leave this a little thick for now as you need to flute the
back of the scroll.

Use a small diameter in-cannel round

gouge like a drill, or a drill press to rough out the peg
box opening. If using a drill press, set the depth stop Figure 24.26
(Fig. 24.26) so that the bit will not go too deep. Check and
reset it each time you move further down toward the throat.
The bottom of the pegbox is narrower than the top so don't
drill right against the wall lines, leave a few mm’s of leeway.
Drill many holes in the peg box, different size drill bits may
be needed. Don't drill any holes within about 2mm of the
back of the nut; this will be adjusted later. Also, leave
enough wood at the front of the pegbox toward the bottom,
so as not to weaken the crook. The G string only needs a
few millimeters clearance in front of the peg.
Figure 24.261 You can use the even leg divider with one leg in and
one leg outside (Fig. 24.261) of the pegbox to measure how deep you are.
 24-8

Use chisels to connect the holes and bring the pegbox to width. You can ‘rock’ the
chisel to cut the bottom of the peg box close to the nut area. Keep the pegbox walls slightly
bulging outward as you laid out in Fig. 24.12 on page 24-4.

When the pegbox has been chiseled out and filed smooth, gouge out the fluting on
the scroll and back of the pegbox, being
careful not to cross the center line. The
depth of the fluting is to taste, making
sure you don’t go too deep as to
weaken the scroll. Two grooves are
used in the wider areas and just one
around the top of the scroll. Fishtail
gouges work well here. Just as you did
on the other surface, leave a 1mm
ledge all the way around. As you are
carving around do the small area that is
touching the bench last (Fig. 24.27) to
Figure 24.27 protect it from damage. You can also
add some cushion to the bench, like some thick felt or rubber matting, as you are carving to
protect the edges.

The use of a smaller gouge than the space between the lines is easier than using a
larger one. Afterward, use larger ones to connect the grooves into one groove per side. Be
careful that you don't overdo the depth, check with the divider to see how much room you
have. You can use a knife to cut the curves under the scroll by the pegbox. Many cheaper
quickly-made violins aren't finished well down into the throat and this is a clue to factory
quality. After this area is done, do the area you left un-gouged on the bottom and cleanly
connect to the already finished portion.

When the gouging is finished, use files all around, crossing (Fig. 24.28), half round,
full round or whatever works for the space - I even have a few curved files. Then use

Figure 24.28 Figure 24.29

 24-9

scrapers to smooth all surfaces, always leaving a 1mm edge all around on both surfaces.
(Fig. 24.29) Sand with 100 grit garnet paper, wet all surfaces, when dry sand with 150, wet
again and sand with 220. For the curved areas, rolling sandpaper into an approximately
1/4" rod is useful for getting these areas smooth.

Using files and finger planes, break the edges of the scroll at a 45° all the way
around (Fig. 24.30), so that the 1mm ledges

Figure 24.30

disappear into one 45° angle, and you have a

clean smooth line all the way around on both
surfaces. Finish the break with fine grit
sandpaper glued to a wooden stick, this will
help to maintain a clean line on the edge. Figure 24.31
Medium and fine grit Emory cloth is good for this. Go over every bit again with scrapers and
then sandpaper if needed. (Fig. 24.31)

Cellos and some large size violas have a wider nut and pegbox than the small end of
the fingerboard. This is so that there is more room to deal with the thicker strings up in the
pegbox and to make it look proportionally correct on the larger and much longer neck.

Once the scroll is finished, to protect it’s fine edges from damage while fitting to the
body, keep it covered with cloth. I like to use a thick cloth bag.
 25-1

Ch. 25 - Fingerboard
There is no need to make a fingerboard from raw Ebony stock, as premade
blank fingerboards are not that expensive and the saved
energy and wear and tear on tools will be well worth the
extra cost. To assist in holding the fingerboard while
working, a fingerboard holding jig can be made by
attaching side rails to a block of wood that is the same taper
and width as the fingerboard, one size can be made for both
violin and viola. (Fig. 25.1) Without some sort of jig like
this, the fingerboard will tend to rock when attempting to
plane the flat side. The jig has two sides, one flat and one
concave so that both sides can be planed without actually
clamping the fingerboard in the dogs; the jig is clamped
instead.

Obtain a fingerboard blank, it is well worth buying an

“A” quality board since there will be less curl and as such Figure 25.1
less tear out of the grain. Place the fingerboard upside down
into the curved side of the holding jig, then using a well-sharpened plane, flatten the
underside. (Fig. 25.2)
6mm

Figure 25.2
Use a plane that is as long as possible
for the work. (On a violin I use a block
plane, for cello a jack plane.) After the board
is planed flat, plane the “free” end, the part
that floats above the violin top, so that the
bridge end flares up and is about 1mm off of
Figure 25.3
flat at the end
 25-2

Mark off the fingerboard width on the underside, 23-23.5mm at the nut and 43-
43.5mm at the bridge end. (Fig
25.3) Plane down the edges of the
fingerboard to this width using a
shooting board that has a slightly
lifted angle on the planing side. (Fig.
25.4)

Plane from both sides so that

the concave scoop on the underside
is kept in the center. The angle that
the board is lifted should be about
three degrees, (Fig. 25.5) and this
will be about the same as the angle
Figure 25.4 of the sides of the heel of the neck,
which will be done soon. It's better to be a little less angled than a little more. You can
always file away a little of the fingerboard while
you are carving the neck. You should also end up
with a 1mm gap along the edge of the fingerboard
in the center from end to end, this makes shifting
in the upper positions a little easier. (Fig. 25.3)

Place the fingerboard, flat side down, in the

holding jig and secure it using the bench dogs.
Plane down the top side of the fingerboard to a
Figure 25.5

thickness on the edges of 5.5-6mm. You

can use dividers or the lining cutter turned
backward to scribe a line on the side of the
fingerboard - you want a scribed line, not
a cut one. Maintain the curve (width) of

Figure 25.6
the board using a template. (Fig. 25.6) A violin
fingerboard uses a radius curve of 41-42mm.
Violas tend to be all over the place, from 37-
48mm. To make it easier to see the edge
thickness, you can plane a 45° angle on the top
(at the edge) down to the 6mm marked
Figure 25.7
thickness. Then plane the top of the board down
 25-3

to the bottom of the 45° while making the radius curve following the template.

A template can be made or purchased. They are simple to make, just take a piece of
the template material and make a rectangle with the short side being the width of the
fingerboard (42mm) by around 100mm long for violin. This will make two templates, one for
the board and one for the bridge. You can also just make a single one that does both jobs.
(Fig 25.6 & 25.7). Mark the center line and make 2 radius curves of 42mm using the
dividers. The bottom curve will be for the fingerboard and the top one for the bridge. Trim
to the lines and you will end up with a template that looks like the one in the pictured.

Typically, the bridge end

will need to be slightly flattened
on the E string side. This can be
done with a file just removing
about .5mm at the center point
between the templates center line
Figure 25.8 and the E side of the bridge. (Fig.
25.8)

When doing a cello fingerboard, some players prefer what is called a “C” shelf under
the C string. This area is planed flat rather than with the radius. It is flat from halfway
between the G and C strings at both ends and remains flat to the edge by the C string. The
reason for this is, especially with gut core strings, the string travels further when vibrated
and needs the extra room under the fat C string than the flatter area provides. Make the
fingerboard as you do the violin one, and then just flatten that area, don’t forget the
lengthwise dip, it is still necessary and will be deeper.

There should also be a 1mm gap in the center when a straight edge is placed end to
end on the playing
surface of the
fingerboard. This
is so that the
strings have more
room to vibrate in
the center. (Fig.
25.9) The Figure 25.9
thickness at the
center of the fingerboard should end up at approximately 9mm and 7mm at the nut. The
bridge end can be measured by putting the fingerboard down on a flat surface and
measuring up. This end should be between 11-12mm thick.

The ends of the board need to be squared and the length set at 27cm. The ends
need to be both square to the underside and the corners at each end need to be of the
same angle. Use the sliding bevel to check this angle from both sides. When the board is
set to its finished dimensions, use a cabinet scraper to smooth out the plane lines and sand
with 150 using a fingerboard sanding block. A 4” long block of wood can be used to wrap
sandpaper around so that a flat, but gentle, lengthwise dip is maintained. Save the final
 25-4

sanding and polishing until the instrument is ready to set up. For this use 220 grit. The final
polishing is done with 320 wet/dry and will be done later during the final set up process.

The underside of the fingerboard as it comes from the factory has a concave scoop
carved in, but it
is rough and not
big enough. Use
gouges, finger
planes and
scrapers to
Figure 25.10 enlarge the
concavity to
within 2mm of the edge and no more than 10mm from where the gluing surface starts. At
the bridge end, the last 3-5mm can angle to the points at the end. (Fig. 25.10).

Double check the mark for the center point on the neck at the nut end and make
sure it is marked clearly and is still the center. It is easy to get off from your original layout
enough to make this an important step. Put a small pin or knife prick into the neck at this
spot so that if the line disappears it will still be noticeable. Mark the center line on the nut
end of the fingerboard, I like to use the small hobby saw and saw a thin slot into the
fingerboard at the corner between the bottom and end of the fingerboard.

Locate the fingerboard in its place on the neck - dry, without glue, and clamp lightly
near the nut. Position the stilt sticks along the sides of the
fingerboard, holding them in place with your hand. Sight
down the sticks against the scroll/pegbox and compare the
sides for even spacing. (Fig. 25.11) Adjust the fingerboard
location at the wide end of the fingerboard as necessary,
being careful to leave the nut end centered on the center line.
A bar clamp holding the narrow end down might be helpful if
you feel that you don't have enough "hands". Once it looks
centered on the scroll/pegbox and it is correct at the nut,
trace the fingerboard onto the neck block. Mark off the new
center at the wide end. This new center line may be different
from the original after centering the fingerboard to the now
carved scroll.

These extra steps should ensure that the scroll looks Figure 25.11
centered and not 'twisted' like a lot of cheap instruments tend
to look.
 26-1

Ch. 26 - Cutting the Heel and Mortise

Cutting the Heel

Measure for the final neck length and mark this line perpendicular to the now
corrected center line. This will be the neck length (2/3rds of the stop) plus the nut width
and the neck mortise inset into the body. On a standard 4/4
violin, this will be 130mm + 6 + 6 = 142. (Fig. 26.1)

Continue this line down the sides of the neck block by

using a sliding bevel set
to the proper angle. I
use a simple protractor
to get this angle. For
violin and viola, it is
87°, 3° off square, the
same angle that you
made the side of the
fingerboard. (Fig. 26.2)
Figure 26.2
Cut this “heel” off using
a band saw or a Japanese saw.

Wet the end grain of the heel, using the block plane set
on a very fine cut, and the
small square to check for
flatness, smooth this to the
line and to the correct
angle. (Fig. 26.3)
Figure 26.1

Continue the center line of the fingerboard down

the end grain of the heel. Also, continue the fingerboard

Figure 26.3
width lines around onto the end
grain. Measure the rib height, the
top thickness, and the neck
elevation or projection above the
body and add a few extra
millimeters. A typical projection is
6mm on a violin. Measuring down
from the fingerboard surface, mark
this total neck height on the heel.
Figure 26.4 (Fig 26.4 and 26.5).
 26-2

Mark the width of the button (22mm, 11mm each side of the center line) onto the
block at “X”, making sure that you keep it symmetrical on either side of the center line.
Connect the width of the fingerboard to the button width "X" with line “Z”.

Cut off the extra wood below the button line and
sides of the neck heel.
(Fig. 26.6) If you will be
cutting the sides of the
heel by hand, see below.
If you have lots of wood
to remove from the
sides, it can be carefully
cut with a Japanese saw
or band saw. When
using a band saw, be
Figure 26.5 careful, since the cuts
will be at an angle, great
care must be taken not to cut too much off, as part of the
cut will be blind, so set up the band saw table angle
Figure 26.6
properly.

If the heel is too close to final dimension to use a saw, or you don't want to use a
saw, trimming the excess will need to be done by hand. Temporarily glue the fingerboard
to the neck with 3 drops of glue along the length of the neck. The fingerboard will be
removed later before varnishing, but we need the fingerboard attached to properly trim it to
size and to set the neck into the body at the proper height and angle.

If you have more than a few millimeters to trim, use the In-cannel Block Gouge to
trim down the neck heel from the
fingerboard's width, being careful not to
damage the edges of the fingerboard. (If
you were able to saw the heel really close
to your layout lines, skip the Block Gouge
and go directly to the plane as discussed
below). Be careful not to slant inward too
much at the scroll side of the heel, but it
needs a slight angle to make the mortise
strong, however, it should follow the
Figure 26.7 fingerboard slant which is only a few
degrees, see the slight angle in Fig. 26.7.
Use a sliding bevel, set at the fingerboard angle from the mortise, as a guide to how much
should be trimmed from the heel.

Once the heel is close, use a block plane to flatten the sides of the heel, they need to
be finished very flat. If not very flat, it makes getting a good firm and clean neck fit into the
mortise almost impossible. Remember that it needs to be slightly angled, following the
fingerboard angle. Make sure that your plane blade is sharp and be careful not to damage
 26-3

the fingerboard. You may also use a file when getting close, but don't round the edges. If
the bottom of the heel ends up slightly less than 22mm on the small end, be sure to take
that into consideration when laying out the mortise below.

Cutting the Mortise

At this point, the mortise in the body needs to be cut. Measure the width from “Y-Y”
in Fig. 26.4 (the width of the neck at the top of
the rib where it meets the top plate). Transfer
this width less 2-3mm's (which gives you some
room for adjustment) onto the ribs, marked on
each side of the center line. Then mark the
button width onto the ribs next to the button,
again about 4mm's less (this also allows for the
fact that the neck heel is wider on the inside
than the outside).

Connect the points with a line drawn

onto the ribs. (Fig. 26.8) Compare these lines

Figure 26.8

with the actual neck heel laid against

Figure 26.9
them in the appropriate position to see if you
transferred things correctly. (Fig. 26.9) You are
primarily checking the angles since the marked width
will be narrower than the heel. A mistake here would
be devastating, in time, to correct.

Using the hobby saw, cut through the edge of

the top down to the inside line of the purfling and
continue this saw line down the ribs just inside the
line. Or you can use the utility knife to score several
times until you go through the ribs. (Fig. 26.10) Be
careful as you get close to the back plate that you do Figure 26.10
not damage it. It will be difficult to saw all the way
 26-4

down to the button so this can be finished with the knife and chisels.

Take the Xacto knife and make a cut across the top from the two saw cuts you made
in the top. This cut basically follows the inside line of the purfling, but will need to be
straightened out since the purfling groove is curved following the shape of the edge.
Continue making cuts until you reach the block. Be careful not to cut in, and keep it
perpendicular. You can use the chisel to cut bits of the top off as you go deeper.

After the lines have been cut through to the blocks, use a chisel to cut out the rib
between the angled cuts. Continue
trimming the block away, keeping the sides
straight at this point. Do not cut the mortise
any deeper at the button than it is at the
top plate. You should now have a rough
opening in which to start to fit the neck.
(Fig. 26.11)

Figure 26.11
 27-1

Ch. 27 - Button and Fitting the Neck

Button

Mark and trim the button to size. Measure and mark a center point on the inside of
the back plate 2mm past the extension of the
edge across the button. (Fig. 27.1) You may
still have a pencil line of the rib location from
when you worked the overhang. You can use
the edge overhang + 2mm to locate this
point. To mark the button width of 22mm,
use a pencil compass and make an 11mm arc
from the center point from edge to edge. If
you have done the overhang correctly, this
should give you a button that sticks out
Figure 27.1 beyond the rib line by 15-16mm. This setup
will give a slightly more rounded look to the outside of the button. The inside line will be
adjusted slightly flatter later to line up with the neck heel.

Trim the button to this line using the hobby saw, a knife and a file. (Fig. 27.2)
Leave the button slightly flared out on the inside
width; it will be blended into the slightly angled
neck heel later.

(FYI - you can see in Fig. 26.10, the

remains of the registration pin that was glued into
the top. Since very little of it remains if you
positioned it next to the purfling and since it was
made from a toothpick which is fairly soft wood, it
won't be difficult to break when the top needs to
come off at a future time for repairs. On some Figure 27.2
older instruments, the makers used Ebony and inserted them as far as 6-7mm away from
the purfling, this makes it very difficult to remove the top. You often have to get a very thin
saw and cut through the pin or pull the plate up and off the pin leaving it still attached to
the block.)

The heel goes into the body 2-3mm deeper at the button end than at the fingerboard
end. This angle is to give a
stronger glue joint due to the
string tension. The top sticks
out past the mortise by 6mm.
This gives us a depth of the
upper end of the mortise of
about 3.5mm in from the rib as
the top projects about 2.5mm
from the rib. The depth at the
button end will be about 6-

Figure 27.3
 27-2

7mm from the rib. For now, we will add a few extra millimeters which gives us about 9mm,
add this to the button height of 16mm, and add an extra 5 for a little more piece of mind -
it's always easier to remove more wood later. (Fig. 27.3) Mark this height on the back of
the heel. You will measure and mark this again after the neck is fit, to remove the excess. It
is done now so that you have some room to adjust while fitting the neck to the body and so
you have less wood to cut and plane during the fitting process. Cut the excess off the heel,
arcing away from the heel using the band saw or a coping saw.

Fitting the Neck

Let’s start first with a couple of definitions.

Overstand – The space between the top plate where the neck heel comes out of the mortise
and the underside of the fingerboard. This is also
referred to as the neck extension and sometimes
the neck height, but we will use overstand. (Fig.
27.4)

Projection – The space between the top of the

fingerboard when extended to the bridge, and
the top plate at the bridge. A neck angle gauge
is useful for this. (Fig. 27.5) This is a useful tool;
otherwise, you'll need more than two hands if
using rulers to measure the projection on an
unglued neck

The neck is fit into the mortise using

chisels, flat files, knives and the block plane. A
smaller block plane can be used here, but it is Figure 27.4
not needed and I have never used one. There
are a lot of angles and measurements to keep
track of while fitting the neck. You will need to
check the projection, overstand (comparing
treble and bass side heights), angle of the neck
to treble or bass side (how straight it is in the
body), depth of the heel into mortise (towards
the button), right to left of the heel in the
mortise and any twist (the bottom of the block
not being flat causing the neck to rock when
pressed in). This is a lot to keep track of, but if
you go slowly and systematically, it will not be
too difficult. The idea is to check all of the angles
every time after you make a cut, once you start
going in one direction, it is hard to go back if you
go too far. The final neck overstand will be 6mm Figure 27.5
unless the arching is particularly high.
 27-3

Use a narrow chisel (1/4" or 3/8") on the sides of the mortise and a wider chisel
(1/2" or 3/4") on the bottom of the mortise to slowly work the neck into the mortise. You
may find, depending on the grain of the upper block, that the block is hard to trim without
splitting. That is because you are cutting into the grain. You may find that you need to use a
wider chisel and come down from the rib surface rather than from the top of the mortise.

Keep the top mortise depth at 6mm from the top's edge while angling the bottom
deeper, keeping an eye on the overstand which will also end up at 6mm. Bring the sides
down to lower the neck into the mortise watching
that the neck is straight in the body. As the
mortise widens and the neck slides down further,
keep viewing the overstand measurement and
check the projection as it will change.

Place a mark on the sides of the heel at the

total length of the heel when finished (rib height +
top thickness + overstand), remember we left it a
little long. As the heel comes down into the
mortise, compare the distance remaining between
this line and the button and space below the neck
Figure 27.6 angle gauge. (Fig. 27.6)

Keep a bridge handy so that it can be placed on the top in position so that while
sighting down the fingerboard, you can see if
the neck is tilting toward the treble or bass
side. If you can see the heart of the bridge,
you are too low. (Fig. 27.7) I just hold it in
place at the bridge position when sighting
down the fingerboard. A few light pencil
marks on the top or a piece of painter's tape
placed in position on the top plate would also
be appropriate here. For a rough gauge side
to side, you can also use the upper eyes of
the "f" holes to compare any right or left
swing, but the bridge is the best guide and it Figure 27.7
takes a good eye to see the difference using
the "f" hole eyes.

For the projection, use the neck angle gauge. (Fig 27.5) The projection is measured
at the bridge with the stick lying in the center of the fingerboard. This gauge is made at
right angles so that the height can be checked with the bridge and strings on, which is very
useful when doing repairs. Although some reference books use the fingerboard height
above the top measured at the end of the fingerboard, rather than at the bridge, this is not
very accurate as the arching of violin tops can vary by quite a bit and there can be a
difference of up to 3mm.

As you slowly work the sides wider with a chisel so that the heel goes in further, you
 27-4

will need to use chisels first and then the block plane at the button gluing surface of the
heel to bring down the excess that was left, bringing the overstand closer to the finished
height. As the neck moves down into the mortise and it comes close to the button, if you
haven't made the mortise deeper at the button, you can adjust/increase the projection by
making the mortise deeper at the button. Although you allowed 3mm of heel for this extra
depth, it may only end up being 1.5 -2mm deeper, so go easy, and only go in as far as
needed to correct the projection.

As you change this angle, keep an eye on the projection. A small cut here can make
a much bigger change at the other end. Keep
noting the space below the neck angle gauge, the
space between the line on the heel and the
button, and how much overstand there is. So, if
the projection is currently 32mm, you should
have a reading of 10mm at the overstand and
4mm to lower the heel into the mortise - all 4mm
more than nominal.

The neck should have a very firm and

tight grip in the mortise when done; it should
require a little force to get it all the way to the
button. (Fig. 27.8) Using a file to make a minute
adjustment is ok. Figure 27.8
Once the neck is fit and straight and the overstand and projection are correct, you
can rough out the back of the heel. Mark the
button height on the heel. (Fig. 27.9) Mark a
curve from this point up to the neck and trim

Figure 27.9

with the band saw or coping saw, flaring out so

that the heel is further from the rib at the top
plate than at the button. It is best to leave a
few millimeters extra as you flare out so that
you can trim it with the knife to the final
measurement. (Fig. 27.10)
Figure 27.10
There is no exact thickness
measurement of the heel as different mortise depths affect the final set of the neck. But a
 27-5

measurement, taken from the top edge to the heel (at the center of the crook of the neck)
should be 26.5mm. (Fig. 27.11) This can be measured with a divider. (Fig. 27.12) On a
cello this measurement works out to be
about 44mm.

Figure 27.11
Figure 27.12
 28-1

Ch. 28 - Shaping the Neck

As you are trimming the heel, you can also cut down the neck thickness to a tapered
20-22mm. (20 at the nut, 22 at the heel)
Mark the thickness and band saw off the
excess. Then mark the neck using the
Vernier caliper for measurements. Divide
the width in three and the thickness in two.
(Fig. 28.1) The above measurements are
about 1mm extra for final adjustments; the
neck is thinner at the scroll end.

Using a knife, first cut the outer

sections between the lines; it's like when
you did the 45° angle when breaking the
edge of the plates and scroll, but much
bigger. (Fig. 28.2) Finish shaping the neck Figure 28.1
being very careful not to alter the gluing
surfaces of the neck to body area and avoid hitting the fingerboard.

The shape of the neck is very

important to the feel that the player will have.
The cross section of the neck should start off
by following the angle that was started with
the edge of the fingerboard. There are three
basic neck cross section shapes and they fall
into the English, German, and French School.
(Fig. 28.3) The English shape is the boldest of
them all and will feel bulbous when you have
the neck in your hands in playing position.
You will notice that instead of flaring in a few
degrees, it actually flares out, so that is not
Figure 28.2 what I use. The German shape is still full but
doesn’t flare out any wider than the
fingerboard. And the French shape has a
more of a V feel to it. The German neck
is still the more common style, but more
professional players prefer the French
shape. There is not much visual difference
between the German and French, but you
will notice the French style has a little Figure 28.3
more of a “V” shape and that it is
especially more angled in rather than squared off at the sides of the fingerboard. The angle
of the French shape is the angle that we have pre-planed on the edges of the fingerboard
and thus, we will be using this style for our neck shape.
 28-2

As you are shaping the neck, roll it end to end and compare the line that you see. It
should be straight compared to the
fingerboard line. Also feel it, as by now, your
hand will be more sensitive to the shape.
(Fig 28.4) File and smooth the neck with
150 grit.

Before gluing the neck into the body,

glue size the end grain of the heel (like you
did with the blocks) allowing it to soak in and
fully dry. Take the utility knife and score
cross-hatches into the neck block.

Keep in mind that since the neck heel

is end grain, any glue on it has a very weak
hold, the scoring helps it to adhere better,
but in all reality, it is the button and the
mortise fit that are the most important thing
to the neck's integrity. Glue the neck in with
strong fresh glue using a bar clamp and a
clamping pad on the button. (Fig. 28.5)

When dry, clean up the area where

the button meets the neck heel. Trim with a
knife if necessary then file and sand with 150
Figure 28.4

and 220 grit sandpaper, wetting between

each sanding to allow the grain to raise. Be
sure that the edge of the instrument
continues in the same curve all the way to
the button.

Some makers will continue the

button curve into the back plate, making a
kind of small notch. (Fig. 28.6) This is only
a nick in the outside going toward the
purfling. Finally, break the edge around the
button as you did on the scroll.
Figure 28.5
Completely clean up the entire instrument,
excluding the Spruce top, one last time with 150
and finish with 220 grit, wetting the surface in
between. On the Spruce, do a final scraping with a
flexible scraper sharpened to a knife edge with no
roll over, as this will allow for a cleaner final
scraping.
Figure 28.6
 28-3

If there are any small chips in the wood, they can be filled now before a final
cleanup. A few different products can be used for this. You can make your own with wood
fillings from your scrap pieces mixed with a little hide glue. Be sure to use a very fine file. A
commercially available filler that has been used for many years is Lycopodium, a very fine
powder made from a plant spore. It's mixed with either Titebond or Hide glue. There is also
a good filler called TimberMate that works very well. It is already in a liquid form and can
be softened with water if it gets a little hard. However, in general, fillers tend to show up a
little harsh because of the change in refraction. To help resolve this, it's better if they are
applied after the first coat of finish, so you might want to wait until you have sealed the
wood.

Go over the entire surface with a tack cloth to remove any dust, dry computer screen
wipes also work for this. Tack cloths are basically cheese cloth that is impregnated with
linseed oil. You can make a decent one by getting a medical gauze pad and wetting it with
linseed oil. Ring it out and let it get tacky, this may take a day or two. After using it,
discard it, as linseed oil on a rag can spontaneously combust. I keep a metal trash bucket
with lid in my shop to toss rags that have had any solvents or varnish on them. Fire safety
devices are made for the purpose and if you have a commercial shop, it may be a
requirement for an occupancy permit, as well as a chemical safe.

I like to follow up the tack cloth, after a day or so, with a piece of brown paper bag
rubbed firmly all over the surface. This tends to burnish the wood fibers a little.
 29-1

Varnish
Violin varnish is basically one of two types, Spirit or Oil. Cheap modern factory
violins are often lacquered or covered in a water-based finish; both are unacceptable as it is
too hard a finish for an acoustic instrument. Spirit varnish is made primarily with an alcohol
base, but can have some oils and gum resins in it to slow down the drying time and to keep
it from getting too hard. Oil varnishes are oil based and much softer, the material is thicker
thus requiring fewer coats. They typically contain gum resins and turpentine and an oil such
as Linseed, Spike or Rosemary oil. Both varnish types can be homemade, but many quality
commercial ones are available today.

There has been lots of speculation over the centuries about a “secret” varnish recipe
that Stradivari must have used. That of course is a possibility, and that secret is lost to the
ages. It is also plausible that he simply used a standard varnish that was available at the
local apothecary, that other artisans, furniture makers, and other local violin makers used.
He then probably added some softening or hardening resin to adjust it to his liking.
Instruments from a specific town and time period often have varnishes of the same basic
type with some minor differences in color and application, as well as differences in the
ground and sealant coats - which may be the most important part of the process.

You can, of course, make your own varnish, a few recipes are offered in a later
chapter. One is by William Fulton, who has created a fine varnish that can be made, but it is
time-consuming and needs to be made outside. Some books on varnish that are useful are:

Joseph Michelman - Violin Varnish

William Fulton - Turpentine Violin Varnish

Michael Darnton is in the process of writing some articles on violin making, that include a
chapter on varnishing. He is one of the top-tier violin makers today and has one of the
nicest quality varnishes I have seen. If you are interested in making your own, you can’t do
better than to follow his example. A brief description of his varnish is discussed later, but I
would recommend reading his entire chapter for more depth and clarity. At the writing of
this book, it was not completed but hopefully soon that will change. An early edition was
available doing a Google search.

We will be only using an oil varnish for our application, as it is easier to work with
for the novice. It spreads more easily and gives you a lot more time to brush the varnish
before it starts to dry. When purchasing varnish, you will need clear and, at least, two other
colors - golden brown and red work well; four colors are even better. The more colors, the
more complex the varnish will look and the deeper you can make the visual impact. It is
much easier to use and apply premade colored varnish than to try to add the color yourself,
as getting the color pigments to completely dissolve can be troublesome. Using premade
colored varnish is the easiest way for a beginner.

One downside, however, of getting the varnish colors already dissolved is that it is
sometimes difficult to get the color dark enough and you have to add more and more coats
of varnish. Soon the varnish will be too thick. It also means you may end up with varnish
that goes bad before you use it because you may use only a little of some colors. On the
 29-2

other hand, while adding color pigment to clear varnish requires you to only have clear
varnish on hand. It is sometimes difficult to get it to dissolve completely and getting it dark
enough can change the varnish material's qualities and drying time, as well as its
transparency.

In addition to applying the varnish, we will need to seal the wood. Much has been
tried, hypothesized, and many things have gone wrong. Prior to the sealant, the wood can
be treated to make it “look old”. Different types of chemicals and stains have been tried for
this ground, but none really looks correct and some can actually destroy the wood fibers
and cause problems with the top coats. The best and easiest, although it takes some
additional time, is to use Mother Nature (using the sun to create your ground color).
Alternatively, a UV Cabinet can be made and is also useful for drying the varnish and
keeping dust away from the sticky finish.

After the last preparations are made, all the wood is scraped or sanded and the
fingerboard is removed. I also like to burnish the wood, especially the Spruce. Some things
that I have used are brown paper from a grocery bag stiffened using thick felt, a thick
plastic scraper, a wool sock and lemon grass. Some makers varnish with the fingerboard on
as it was done by some of the great makers, but until you get good at varnishing I don’t
recommend it, as it is difficult to get an even coat under the fingerboard and to not get
runs. Fit a length of dowel or other stick into the endpin hole so that you can rest the
instrument on a table or your leg while
working. Spot glue or tape a protective
block of wood
onto the neck to
protect the sharp
edges and to
Figure 29.1
keep varnish off.
(Fig. 29.1)

The neck area, the part that the hand touches during
playing, is not varnished as it would slow down the hand and
would wear off easily. Instead, this area is just lightly stained,
polished and oiled. (Fig. 29.2) Figure 29.2

Ch. 29 - Aging and Sealing the Wood

Varnishing over bare white wood doesn’t really look very nice. The result is cold, and
time won’t help because wood doesn’t age and darken much when it’s under varnish as the
varnish keeps the UV waves out, the same way as glass blocks out much of the UV from
entering your house. If the “aged look” is built into the varnish color instead of treating the
wood first, white wood will be revealed as varnish chips and wears. Makers usually do
something to darken the wood before they start the varnishing process.

Many things have been tried, using stain must be done only in the lightest of shades
 29-3

as the end grain (mostly in the top, but also in the back) will soak up the color and give a
very splotchy look. Sodium Silicate was all the rage in the 70's. More recently, Ammonia
fumes have been tried with mixed results, but I am not ready to get on that bandwagon.
One maker I know tried to do some repair work on one such instrument and found the wood
fibers to be deteriorating. Allowing mother nature to do the work for you is the best option.
We know that the natural approach - UV - works because Stradivari did it, he hung his
instruments up for a period of time in the sunlight. Another option is a 4% solution of
Sodium Nitrate and then UV. The Sodium Nitrate speeds up the UV process, so days or
weeks in the sun can be reduced to just a few hours.

Place the violin in direct sunlight or put in a UV cabinet (fig. 29.3) to give a natural
aged look to the wood. This cabinet is
basically a wooden box, with tanning
lights, a slow-turning motor, and an
exhaust fan. It is best to avoid placing
the instrument behind glass as it can
filter out some of the UV. Expose the
violin to UV until it gets a light golden
brown hue. This can take up to a few
weeks depending on the equipment.
Bulbs that work well are Sylvania
F30T8/350BL, these are 36". Four-foot
ones can also be purchased, especially if
you think you will want to make a cello.
If you have a space limitation, you can
use 24" versions, especially if you will
only be making violins and violas.

Keep in mind that the shorter the

Figure 29.3 bulb, the lower the watts and the longer
it takes to do the job unless you add
more lights. I am not in a huge hurry, so I use 4 of the 30" bulbs. My instruments take
about 2 weeks to get the UV color I want. When making the UV box, make it big enough for
the largest instrument you will be making. Also, plan on having room to install a fan and
possibly a slowly rotating motor, both are in my cabinet.

Be sure to seal the box well. This box, in addition to providing UV for aging the wood
and drying the varnish, provides an almost dust free environment so less dust will attach to
the varnish. So, tape or caulk any gaps and use self-stick foam insulation on the door. If
you have any non-UV bulbs that fit the fixtures, install them and, in an otherwise dark
room, any gaps will be seen. You can use the UV bulbs for this also, but just don't look at
them as this can hurt your eyes. As a safety feature, if you think you won't remember to
turn off the lights when opening the door, you can install a push button switch that turns off
the power when the door is opened and the button is released.

My box (pictured), uses 4 bulbs, a mirror ball motor, a 120volt slow speed cooling
fan, some AC filter material, and a multi-strip outlet. Although I can't say if it helps or not, I
 29-4

lined most of my box with aluminum foil - it can't hurt. The fan keeps the heat down, the
motor rotates the violin for better coverage and the aluminum foil reflects the UV rays. Be
sure to either tape over the saddle with opaque tape or don't attached it until after the
aging and varnishing process. Ebony absorbs the UV rays more and thus heats up, which
can compromise the glue joint.

For many years, a chemical named Gamboge was used to give the instrument a
yellow ground color which helps to bring out the flame of the wood, but in recent years that
has gone out of favor as it tends to be a little stark. I prefer to use the UV for a gentle
golden brown and then add some yellow into the sealer coat if needed. With some
instruments, to match the basic color tones, I have used color in the sealer for the Spruce,
but not the Maple, or vice versa.

The next operation after aging the wood is to seal the wood, often referred to as the
ground coat. Many things have been tried over the years, but what is needed is something
that will seal the wood without soaking into the wood too far and thus filling in the pores.
Some makers have used additional clear coats of oil varnish, but this soaks in too much,
takes a very long time to dry and, along with adding considerable weight, keeps the wood
fibers from vibrating. If the wood has had an aged look applied via UV, very little color in
the sealer will be needed. The sealer must also not prevent the clear or Color Coats from
adhering to the wood. If the sealer is too hard and thick, the oil varnish will just sit on it
and not adhere properly to the wood.

For these reasons, I prefer simple shellac. You can use a softer varnish over a hard
one, but not the other way around, as the outer varnish would crack and split with time.
Using too much sealer will keep the violin from vibrating and give a harsh sound like
student grade lacquered instruments have. Apply several thin coats of shellac; Bulls Eye
Shellac is available in several colors at most hardware stores and works well. I prefer the
clear so that I have more control over the added color. You can also make your own shellac
by dissolving shellac flakes or button lac in alcohol. Some filtering will be needed to get a
more transparent product. I prefer using grain alcohol for all of my varnish needs that
require alcohol, but regular hardware store denatured alcohol also works.

Thin the liquid commercial Shellac with 2-4 parts of solvent alcohol to one part of
shellac. Using a 3/4" or 1” sable brush (I like a “filbert” shape), brush on the thin shellac
and then immediately wipe off any excess with a lint-free cloth. Let this dry before re-
applying. Mixing some yellow tint into the shellac will give a nice ground color. TransTint®
works well for this (Honey Amber or Lemon Yellow). Let this dry and then repeat. I let the
first coat dry a few hours and then repeat with a second thinned and tinted coat. Continue
until the wood just starts to get a sheen - the varnish is no longer seeping into the pores. If
you get the ground color you like, just stop adding color to the shellac.
 29-5

Note: It is a good idea to have some Maple strips in which to try out your varnish before
applying it to the instrument. This way you can see the color. First apply varnish on a small

Figure 29.4
piece, then on an entire strip, like a rib. When doing subsequent coats, keep adding leaving
a small portion of the previous color exposed. (Fig. 29.4) I mark the back of the strip with
the materials used, for future reference.

Between coats, sand with 320 or 400 grit wet/dry paper or lightly scrape as
appropriate to remove dust. Before applying another coat, you should wipe the instrument
with a tack cloth. On certain areas, the ground color will be complete but the shellac will
not have built up enough. On these areas, add clear shellac until they match with the well-
sealed areas. The problem areas where the shellac keeps soaking in will be the end-grain
areas on the top (like at the 7 & 8cm spots), the edges, the end grain parts of the scroll and
heel, and random areas of the back depending on the grain orientation. This is one reason
why violins are not stained as the color will penetrate unevenly.

Once the whole thing has a very light and even sheen, lightly sand with 600 grit wet-
dry paper, just barely brushing over the surface to clear away any dust that has stuck and
cutting down any remaining wood fibers that might be sticking up. If you want to wet sand,
use turpentine rather than water so that the water does not penetrate into any still open
end grain.

Then rub the instrument down with a tack cloth or lightly wash the entire instrument
a couple of times with a paper towel dampened with turpentine to remove any remaining
dust or residue.
 30-1

Ch. 30 - Color Varnish

Many fine clear and colored varnishes are commercially available. I have successfully
used ones sold by International Violin, Meisel and Howard Core. All of the violin supply
houses sell some version of oil varnish. Some makers, including me, have also had good
results with using Tru-Oil by Birchwood Casey (which is a linseed oil based product and has
Japan drier making it dry in a day). Some people think that Tru-Oil is not technically a
varnish since it has no resin in it, however, it does build up like one. In my opinion, as long
as you have sealed the wood properly at the early stages of the color coats, a heavy resin
varnish isn't that necessary. Tru-Oil is not a traditional choice and you of course can do
some research and come up with your own varnish, but for the purposes of this book for the
novice maker, I will be using it as a partial varnish ingredient. Historical research also
indicates that many makers used linseed oil in the lower sealant coats and that much of the
varnish applied over that is gone on many old instruments, leaving mostly the ground coats.

The main difficulties in varnishing with oil varnish are getting the color correct and
built up in 4-6 coats without getting streaks. However, with oil varnish, the latter is fairly
easy. Because of the low number of oil varnish coats that can be applied, the color needs to
be fairly intense. If streaking is a problem, a couple of drops of Kerosene will make the
varnish brush out a little more evenly; or simply thin out the varnish with a little turpentine
so that the color is not so heavy. If you don’t like the results of a coat of oil varnish, it can
be quickly removed with some turpentine. (You cannot do this with alcohol varnish as it will
soften the lower layers.)

The color that is achieved is a matter of your personal taste, you’ll have to figure out
what color you want. Looking at a lot of violins first is a good way to get some ideas.
Typically, red color in violins is used sparingly as a little goes a long way, so figure out how
red you would like the instrument and what proportions the other colors will have. For
instance, do you want a red-amber, a red-brown, a yellow-orange, etc.

I said above that adding color to clear varnish is a little difficult. There are several
different ways to add the color to the basic clear (amber) oil varnish. Of course, you can
buy varnish with the color already added. One very high quality (but expensive) color
varnish is made by Holtier, and comes in a red-brown (more brown than red). It is thick and
very intense so some light thinning is useful. Additional color can be added, as mentioned
below, to make the color a little more interesting. Coloring agents are available in different
formats like powder, paste, and liquid. Natural pigments can be used, but they require a lot
of time to prepare properly. Some of these pigments are not very colorfast and can easily
fade with time, as are some of the aniline dyes that are available.

Most violin supply houses sell powdered aniline colors that are available for either
alcohol or oil varnishes. I find most of these colors to be too stark and I can usually tell
when someone has used them, as the color is not very subtle or stable as mentioned above.

There are some good semi-transparent oil colors that can be used to create most
shades for violin varnishes. Gamblin brand is just one artist oil color; several different
yellows, reds, and oranges are listed and each has its own hue. Other manufacturers of oil
colors also sell similarly named colors, these are just the ones that I use. The ones that I
 30-2

usually use are marked with an *. They are added to the oil varnish and mixed very
thoroughly. I would recommend making a little of each color that you will be using and then
mixing them rather than trying to create your ideal color by combining them as you mix.
This way you will also see how transparent an individual color is and thus how much of that
one to use. Although, if a specific color is too strong towards one direction, a second color
can change the direction. As you get better at assessing the color, you can mix as you go.

Reds: Alizarine-Crimson, Perylene, or Transparent Earth Red *

Oranges: Transparent Orange *, or Transparent Earth Orange
Yellow: Transparent Earth Yellow *
Green: Terre Verte
Blue: Ultramarine Blue
Black: Asphaltum * - an alternative to Asphalt roofing tar, although it is not as black.

The last color in the list that I have found useful is asphalt. It is especially good to
deepen the color mix that you have without adding more of all the different colors. A
number of violin makers today get actual Asphalt from a road crew and use that (properly
dissolved first in turpentine) in their varnish. Too much can cause drying issues or even
crazing to the varnish; so, go easy, a few drops go a long way. Although not as black, the
Asphaltum artist color can be used instead.

One problem with Artist Oil colors is that they can be expensive, the colors can dry
out in the tube in a few years, and unless you are cranking out many instruments a year,
you will hardly use any of the color before it has to be replaced. So, purchase the smallest
tube size you can get.

Another type of coloring agent is the liquid form. Most violin supply houses sell liquid
colors for either spirit or oil varnishes. I also have found that TransTint® is an excellent
coloring agent. It can be used in alcohol and many oil varnishes and comes in a variety of
colors. Some literature on these dyes say that they don’t work in oil varnish, but I find that
they work very well in the Gun Stock Finish as well as the commercial violin varnishes that I
have tried (sold by International Violin and Holtier). I know of a number of violin makers
that use TransTint for tinting. Use it sparingly, a few drops go a long way, 4-8 drops are
more than enough. Some of the TransTint colors available are pictured in Fig. 30.1. The
colors I like are:

Amber
Honey Amber
Golden Brown
Reddish Brown
Medium Brown
Dark Vintage Maple
Red Mahogany
Figure 30.1
Generally speaking, when we varnish a violin we start off with some form of Yellow,
and then move to the Orange, Brown, Dark Brown with some Red, and then Red. I tended
to stay away from the using too much red as most of my customers didn’t care for it and it
is very easy to go overboard. However, reds do fade over the years more than other colors.
 30-3

If you use the red first, it may be impossible to lessen the effect of having used too much.
The amount of each depends on taste and if you will be doing a new or an antique style
varnish. Antiquing of varnishes has been done for hundreds of years, both for aesthetics
and to deceive.

It’s a good idea, whatever types of colors that you will be using, to do
some sample colors on a piece of wood. I use a strip of rib wood for this so
that you can see what it looks like on the figured Maple. (Fig. 30.2). You can
simply apply each color (mixed in varnish) to the wood on separate patches or
you can build it up creating your final color. Unless you are very careful about
writing down the exact mixture percentages, the latter is almost impossible to
control. While I am varnishing the instrument, I also varnish a separate rib
leaving a section of the earlier coat unexposed. So, starting from one end you
will have a sealer, then sealer and a ground coat, then sealer ground and first
color coat...and so forth. I label this for future reference so I can make
adjustments as needed. It also is great to have these samples when showing
potential customers your work.

The great masters of the 16th and 17th centuries have been copied for
as long as their instruments were sought after, even during the makers' lives.
As time passed, and the originals aged, the varnish applications of the copyists
Figure 30.2
also had to look old. When they were originally made, makers such as
Stradivari varnished the whole instrument the same; it was not darker in some areas and
lighter in others. What we see today of these works has been worn away with time through
natural holding and through the cleaning and polishing of the instrument. We do see the
original intent in a very few fine examples of works that have had almost no wear.

Whatever medium you use to get the colors that you want, start with yellow. When
using colors, add a little at a time, it is really easy to go too dark too fast and then you have
to waste a lot of clear varnish to thin it out. About a tablespoon of varnish is enough for a
single coat, but don't be too stingy either as it might be hard to recreate the exact color.
Don't start on a section like the top or back unless you know you will have enough to finish
that section.

With the artist oil colors, you should squeeze just a small amount out onto the side
of the container (1/8-1/4") and then mix it into the varnish (Fig. 30.3). Each successive
coat should have a little of the previous coats color as well as the next shade. This layering
effect will provide for more depth of field in the varnish and is one of the most appealing
aspects of the older master makers' work. 4-6 color coats are best, as too many will make
the varnish heavy and subdue the instrument's sound. After the
application of each coat, place the instrument in a dust free area.
If you want to speed up the drying process, use a UV box.

When applying the coats, each layer is brushed on.

(However, some makers use a technique where they wipe the
varnish on.) Start with the ribs, then the back, top, and finish
with the scroll. The ribs are varnished neck to “C”, “C” point to
Figure 30.3
 30-4

“C” point and “C” to end button. The back is varnished side to side. It can be spread up and
down, but finish with the flame as it will help to hide any streaks. The top is varnished end
to end with the grain. I like to start at the center seam and
work out, as this will tend to make the center of the
instrument darker which is more natural. Start the neck in the
scroll's turns, as this again would be naturally darker. Then
move to the pegbox cheeks and the back of the neck and
scroll. Finish with the heel. The neck proper is not varnished
and a smooth transition at the heel and the upper crook
should be created (Fig. 30.4). Apply the lower layers here
closer to the neck proper so that it feathers into the full color
and a straight varnish line is not created as this would make it Figure 30.4
look cheap like a factory fiddle.

When applying varnish, care must be taken not to squeeze varnish out of the brush
and then have varnish run into the “f” holes or edges of the ribs. Check frequently for
dribbles and clean this area up right away with the tip of the brush or a clean fingertip. One
common place for trouble, is the bottom of the "f" holes, so check after you have finished
varnishing the instrument as it might take some time to appear. Coming along the next day
and seeing a run down the front of the violin is not only disheartening, but difficult to clean
up, and must be done so very carefully with a scraper once the varnish is completely dry.

Once the full coat has been applied, some makers take a finger or cloth dampened
with turpentine and wipe the edges to lighten them up, especially on the final color coats. If
you will be doing an antiqued varnish, the successive layers will not cover the entire area.
Look at lots of old violins and pick one where you like the shading and use that as your
model. Likewise, find the color that you like and try to copy that. The two styles may not be
on the same violin. Trying to do an antiqued finish without knowing what natural wear
looks like will only make it look unnatural.

The inside of the “f”s need to be varnished as well as the inside of the pegbox. This
can be done as you varnish the rest of the instrument or done separately after the coat
dries which is what I prefer. This color will not usually be the same as the rest of the
instrument, usually much darker, so it doesn't need to be the same varnish or even the
same consistency. If too many layers of varnish are built up in the "f" holes, the soundpost
may not fit. I like to take a sharp knife and remove any layers of built up varnish in the "f"
holes. I prefer less varnish build up at these places and for it to be darker than the
instrument, but not jet black.
 30-5

Mix up some dark amber varnish and asphalt black oil color to a medium thickness
paste, thicker than a typical varnish coat. Apply this to the "f"
hole edges as well as the bottom of the pegbox. Some makers
do the entire interior of the peg box this way and many French
makers just stained it black with almost no varnish. When
applying, be careful not to get any on the other varnished areas,
but if you do, just wipe it off immediately with a cloth dampened
in mineral spirits or turpentine. This is why you do it after the
Figure 30.5 varnish coat dries. If you want to get fancy and do a French style
varnish, this darker color can be added to the flats of the ends of the rib points and to the
small edges of the scroll. (Fig 30.5)

Whatever method is used to layer on the color coats, some rubbing out will be
needed between each coat. Use 400 or 600 grit wet/dry and a little water or mineral spirits.
Only use water if the wood is thoroughly sealed or the grain could rise. Mostly you are
trying to get rid of any dust or brush marks, so go very lightly or you will rub through the
color and additional coats will need to be applied. As you are rubbing out the varnish after
each of the color coats, apply some of the color sludge that’s on the sandpaper to the neck
area since this won’t get any actual varnish. You can also treat the neck separately as
described in the next chapter. Before applying the next color coat, use some turpentine to
clean the instrument.
 31-1

Ch. 31 - Finish Coats and Rubbing Out

Clear Varnish – Finish up with a few coats of clear varnish, so that when you do the
final rubbing out, you won’t rub through the color coats. As mentioned earlier, it is advisable
to wipe down the edges as you go so that they do not build up. The edges are very prone
to bumps and bangs and dents don't show as much as chips of varnish do.

Rubbing Out the final clear coats - When the final coat is very dry, first use 600 grit
wet-dry sandpaper using water or mineral spirits as a lubricant. This should be a very light
sanding. Some makers also like to use the product Micro-Mesh with water, which is a cloth
with embedded grit. They come in grits from 1000-10,000. Go over the entire instrument
lightly so that all of the shiny areas have been made dull and any dust or brush strokes are
gone. Be careful not to work in one area too much so that you do not cut through the clear
coat to the lower colored layers. If you spot any specifically large specks, try to remove
them first with the tip of a knife. When finished, use a little turpentine to clean the
instrument.

After the last clear-coat has been applied and rubbed out as above, follow up using
some Mineral Oil and Tripoli/Rottenstone (a fine abrasive powder). For the edge areas by
the purfling, use a little of the Tripoli paste on a soft toothbrush. You can even use
toothpaste itself as an abrasive. Some makers use Pumice, but it is too abrasive for the
inexperienced hand. Mix up some into a thin paste and apply onto a thick felt pad (about
1/4" thick, like that used for insulation). I also like to use a piece of an old felt hat; it's
thinner and can get into smaller areas like the turns of the scroll. You can also use some
thick leather. For a final polish, you could French polish with a little shellac and oil, but this
is a difficult process to learn how to do. I would practice on some old, cheaper instruments
that have a well dried and cured varnish, before using it on a new, fresh finish.

Steps for an easy oil varnish (as above)

Materials needed:

•shellac, small can (clear or amber)

•alcohol (grain or denatured, smallest size)
•coloring agents (artist oils or TransTint, smallest size)
•oil varnish (International - 2 oz. or Holtier - 50ml.)
You can skip the commercial varnish, if you use a
mastic gum additive (see recipe below), but skip the
linseed oil since there is plenty in the Tru-Oil.
•Birchwood Casey Tru-Oil Gunstock finish - 3oz.
•Kerosene - smallest size

Create the ground color and sealer

1. 1 coat of clear or amber shellac: alcohol (1:3)

2. 1-2 coats of clear shellac: alcohol (1:3) with a very Figure 31.1
 31-2

light yellow color (TransTint - Honey Amber or Lemon Yellow-tinted to ground

color of your choice)
3. 1-2 coats of clear shellac: alcohol (1:2) with no color until light sheen is obtained
evenly - all of these coats can be applied on the same day, only a few hours need
to pass between reapplication. (Fig. 31.1)

Rub out very lightly between coats with 400 or 600 grit wet/dry paper (dry) on Maple and a
scraper (used very lightly) on top for the first couple of coats. Use a tack cloth to remove
dust before the next coat.

Apply the Varnish

4. Apply about 5-7 thin coats of colored Oil varnish(OV) and True-Oil(TO) with color
TransTint (TT) or Artist Oil (AO) colors to taste. Thin coats allow the
inexperienced to get the varnish color to where they like it while keeping the
streaks to a minimum. As you get better, you will be able to do it in 3-4 coats. I
start with 100% TO, then 2:1 TO:OV, and continue to dilute with OV until the
reverse ratio of 1:2 TO:OV is obtained. These amounts aren't critical, so don't
bother to measure. Don't forget a few drops of Kerosene to make the varnish
brush on smoother. These are the colors as seen in the instrument below:
1) AO Transparent Earth Yellow and TT Honey Amber
2) AO Transparent Orange, AO Transparent Earth Red, and TT Golden Brown
3) TT Medium Brown and AO Transparent Earth Red
4) AO Transparent Earth Red and AO Asphaltum and TT Medium Brown
5) TT Red Brown and TT Mission Brown and AO Asphaltum
6) TT Mission Brown and AO Asphaltum
7-8) Apply 2-3 coats of clear oil varnish or True-Oil

Figure 31.2
 31-3

NOTE: Old Holland makes some very fine colors - Iron Oxide Transparent Yellow Lake,
Transparent Red Lake, and Italian Brown Pink Lake. These are more expensive, but the
quality and transparency is wonderful. Kremer makes a few translucent Iron Oxide colors.

Start shading around color coat 3 if you want to produce an antiqued style. (Fig:
31.2) Remember it is your instrument and color it the way you want. If the instrument is a
commission, then the customer’s preferences will prevail. If you don't like much orange, go
easy on that and the reds. As part of the color coats, if you want to do some antiquing;
varnish certain areas more than others, remove varnish with mineral spirits (for oil varnish
only), add some antiqued effects like small nicks and scratches or add some greenish tint to
the natural “wear” locations. When doing the nicks, put them in before the darker colors so
that when you apply these darker colors, the color will go into the nicks. When you rub out,
the color will remain there. I would not recommend antiquing without studying old
instruments first or it will just look funny-wear in the wrong places, nicks where it is hard to
get. You can brush the color on thinner in these areas. It's easier if you start where you
want the varnish dark, then lightly work it into the quadrants. As you build color, you can do
some light antique effects by removing some wet varnish with a dust free rag that is just
barely damp with mineral spirits. Some early 1900 makers added fake cracks and grafts.

Rub out between coats using 600 grit wet/dry (wet - using mineral spirits). Be
careful not to rub through the color. A very light rubbing through in the outer parts of the
upper and lower boats is OK; this will expose the grains, but go easy, you can't put it back.

After the last coat, rub out with 600 wet then use Tripoli and mineral oil on thick felt
or leather pad.

Be sure to scrape off any varnish that may have gotten onto the saddle or
fingerboard gluing surface.

I also burnish the varnish with a pad of leather, something a little flexible so that you
can get into the corners.

Oil and Spirit Varnish Recipes

For those that want to try their hand at varnish making. Here is a simple spirit
varnish and a no heat oil varnish to try.

This Spirit Varnish is also an excellent varnish for touchup work and is referred to as
the Stradivari 1704, although there is no proof that it is Stradivari’s varnish especially since
he primarily used oil varnish, just as most of the Italian makers did.

•45 g Seedlac
•7.5 grams gum elemi (optional)
•200 ml Alcohol
•9 ml. Spike Lavender Oil
This makes a golden-brown spirit varnish. Put the ingredients in a glass jar and let it
dissolve, stirring several times a day until the Seedlac no longer settles and sticks to the
bottom of the jar, this may take several weeks. Once dissolved, pour the contents in a
 31-4

double boiler and boil for 6-7 minutes. Let the varnish cool down and then repeat. After the
second cooking, and while it remains warm, filter it through a fine cloth. Repeat as needed
until it runs dirt free. Once cooled, it can be used. Some thinning with alcohol might be
needed if it has been cooked down too much.

An Oil varnish, on the other hand, can be very difficult, time-consuming and
dangerous to make. They need to, for the most part, use high heat to cook the materials
and this must be done outside as the oil can catch fire. One resin that can be used in
making varnish that can and must be done without heat is Mastic. This is a formula that we
used in school, that was the last time I made it.

•50 grams of Mastic tears

•1/2 pint of artist grade linseed oil (cold pressed pure)
•1/2 qt. Pure Gum Spirits of Turpentine

Fill a jar with mastic tears (measure the mastic so that you know the weight - a
postage scale works well for this), then just cover the mastic with turpentine. As mentioned
above, do not use any heat, only stir and/or shake it every day for a week or two until all of
it has dissolved except for a layer of crud that will collect on the bottom that just won’t
dissolve. Pour off the liquid, and mix it with an amount of linseed oil equal to the weight of
the dry mastic you started with. Mix the two together. You will have enough for a few
instruments and it gets better with age as long as it is kept sealed and at room
temperature. Double the recipe if you are making a lot of instruments.

This mastic and linseed oil varnish has been around for a very long time and has
been used by oil painters to coat their artwork. There is evidence that some violin makers
used something similar as it was readily available from the local apothecary and it is very
similar in properties to some old varnishes. This varnish can turn slightly yellow with age,
not a bad thing. Other traditional oil varnishes have additional resins like sandarac or elemi.

NOTE: Recent scientific analysis of varnish taken from 5 Stradivari instruments show a
sealer like Linseed oil and a top coat of tinted oil-resin varnish. Much of the original top
layers of varnish are now gone. The recipe that I use is very similar to what I believe now
remains. 1) UV coloration of the wood 2) a light Sealer - a small amount of shellac 3)
Linseed oil (Tru-Oil) with color plus 4) some additional resin varnish.

Rather than using a full complement of Resin varnish from the first coats, this recipe
follows what many instruments are more likely to have had after many years of use. An
added benefit is that it is easier to apply than some other varnishes.

Any unused mixed varnish/color should be sealed up and if still good, can be added
into the mix for the next coat. Check first to see if there is a skim on the surface before
using. If there is, it is a sign that the varnish has started to dry and there may be clumps in
the varnish making it difficult to use. To prevent the oil varnish from skimming over, a
product called Bloxygen can be used. It is an aerosol spray consisting of argon gas which is
heavier than air. Spraying the Argon gas into the jar before quickly covering it, displaces
 31-5

the oxygen and keeps the varnish from drying out. After doing this with any unused
varnish, as well as my opened Tru-Oil, I store it upside down and keep it in a dark place like
a cabinet and never subject it to high heat or its properties may change.

Cleaning Up – After each coat of varnish, it will be necessary to clean the brush. Use
the appropriate solvent (alcohol for Spirit varnish, turpentine or mineral spirits for Oil
varnish), then Acetone, followed by Ivory soap or soft soap and water (keep washing until
you only have very white soap suds). Reshape the brush hairs and let dry.
 32-1

SET UP AND ADJUSTMENT

Ch. - 32 Fittings and Setting Up

Gluing the Fingerboard

Before gluing on the fingerboard, take the block plane and slightly tilt the neck
surface so that the fingerboard tilts toward the E side and thus the overstand is about .5mm
lower than the G side or about 5.5mm above the top vs. the 6mm on the G side. This is to
allow for an easier access to the G string while playing and is one reason that we have a
shelf of extra wood at the nut end. Dry clamp and check the height with the neck angle
stick.

Using a knife, make some cross-hatch marks in the bottom of the board. Since both
the neck and board are now finished, they need to be
protected during clamping. Make two clamping blocks
to fit, one for the fingerboard side and one for the neck
side. Pad both with cork. Make sure that the side that
the cork is glued to is flat prior to gluing on the cork.
Contact cement or spray adhesive works well for gluing
cork, or just buy some self-adhesive cork. (Fig. 32.1).
Warm up the fingerboard gluing surface and apply a Figure 32.1
thin glue to the neck surface, clamp making sure the fit is perfect. You may also need to
make some slight adjustments if the clamping didn't go perfectly. If it is more than a
fraction off, remove the fingerboard and try again.

The neck color – If you got the color you desire by the above method of working the
rubbed-out color into the wood or just by handling the instrument during the varnish
process, then just apply a few drops of oil and rub that into the wood with an old wool sock
and buff and let dry. If not, clean up the neck with a scraper and finish off with 150 and
220 grit sandpaper.

To color the neck, if one of the earlier options weren't possible, use a dash or two of
artist oil color (mix yellow and brown or even some green, avoid red) dissolved in some
thinned Gun Stock Finish or linseed oil. Don’t make it very deep in color, this is going to be
a wash. Rub it into the wood with a lint free cloth and buff when dry with an old wool sock.
You can also get a chemical violin neck stain, the one that I have used is sold by
International Violin, and is really not a stain since it has little to no color, but reacts with the
raw wood to create a light yellow brown color. I have even just used the "dirt" off the
workbench rubbed into the wood for a very natural old look.

I don't like to "polish" the fingerboard because as you play, the board will develop
spots and look shabby. When you were making the fingerboard, you stopped at 220 grit.
Now, if the fingerboard is undamaged and doesn't need any re-surfacing, use some 360 grit
wet/dry with mineral spirits and wipe off. After it is dry, take some mineral oil and sand
again with 360 (do not use linseed oil). Buff with 0000 steel wool.
 32-2

Pegs

Pegs should be made from Ebony, Rosewood or Boxwood, although a few makers
have experimented with Mountain Mahogany and even composite materials. The cheaper
grades of Rosewood and especially Boxwood tend to be too soft and the pegs will wear too
quickly. Ebony of low quality will be difficult to cut as it will tend to chip. Pegs with fancy
collars or carvings can be difficult to match if a peg should break, so keep this in mind when
choosing the pegs and materials.

There are two schools of thought on peg material.

1. Use a material like Boxwood that is softer than the Maple the pegbox is made
from. This means that the pegs will wear before the peg box.
2. Use a harder peg, like Ebony so that the pegs stay round and, if quality Maple
was used for the pegbox, then it will take a very long time before the pegbox will
wear.

After seeing the way pegs work over 40 years in the business, I rely on system 2
unless the instrument is made from low-quality materials.

A good peg shaper and reamer that match are very necessary to accomplish a good
finished product, being the proper taper and pegs that truly fit. The basic end result should
include:

• Pegs heads that protrude from the pegbox wall to the same extension. From
the pegbox wall to the first collar should be 12-13mm on a new instrument.
The small end of the peg should not extend outside of the pegbox, but rather
be inset about .5-1mm to allow the peg to work its way in over time,
especially during the first few months.
• Pegs that are parallel to each other and perpendicular to the center axis of
the instrument, not the pegbox walls. They should be viewed from the front
and back, as well as from above, during the fitting process.
• Pegs should be fit perfectly into the reamed holes without any wobble. When
a proper lubrication is applied, the peg will show two polished rings where the
pegs touch the pegbox walls.
• The ends of the pegs should have a gently curved dome shape and the holes
for the strings should be off center towards the peghead end. The hole
should be on the same plane as the flat of the peg head.
• The peg ends should be very lightly finished with sandpaper up to 320 grit
wet-dry and then lubricated using a drop of mineral oil or a little oil from the
side of your nose.
• Some form of peg soap or lube should be applied, so that the pegs stay
where you put them, but also turn smoothly with some pressure.

A peg shaver and matching reamer will be needed.

 32-3

The shaping of the pegs is done by inserting the peg into the shaver and rotating it
slowly with a gentle pressure. (Fig. 32.2) Trim all of the
pegs to the same size hole when possible. Quality pegs
will make a big difference in the cutting. Poor quality
pegs can split or they might have a warped shaft. If the
shaft is warped, while shaving, the shaft will be rounded
off center to the head. You start with the largest size
hole and work your way down in size until you get to
the required size, I like the middle size, but you can
Figure 32.2
decide. Too small and the pegs will be weak. Too big
and there will not be room for them to work themselves in over the years before the holes
need to be bushed.

If a peg needs to be made slightly smaller than a specific hole in the shaper allows,
simply put a narrow strip of 150 or 220 sandpaper down the length of the hole opposite the
blade. This will lift the peg in the hole and surface the entire thing to an equal taper.

Pegs should be purchased in quantities of more than 1 set, find styles you like and
get a good supply, that way if one breaks during shaving another can be grabbed. If you
buy fancy expensive peg sets, if one breaks, it could be a pain to match. When cutting, if
the peg feels like it wants to grab too tightly, use less pressure, you may want to lightly
scrape where the blade was cutting in. A lubricant like paraffin wax or peg soap works
great to assist in a smoother cutting peg. Rub it frequently all over the surface to be cut.

At the end of the shaft before the head is a collar. This collar can be very fragile and
chipped easily with the edge of the shaver. Before reaching
this point, take a knife and score around the shaft so that
the wood will slough off at this point and you will not run
the risk of chipping the collar. The scoring is slightly
exaggerated in Fig. 32.3. As you approach the collar (2mm
or so), it is best to revert back to the next larger hole in the Figure 32.3
shaver and while tilting the peg slightly so that just the
upper shaft by the collar is being cut, trim to the collar. Then clean up the cut with the
smaller hole, avoid hitting the collar with the shaver.

When the pegs are all cut, sand them very lightly with 220 grit and then 320 wet-dry
and mineral oil sanding with the grain down the length of the shaft and not around the peg.

Note: If you choose to use Boxwood pegs, don't use any oil. You will notice that the
peg where shaved is now a much lighter color than the peghead. The shaft will need to be
stained to match the rest of the peg. I have found that watercolors are the easiest to use
and the pumpkin or nutmeg color is a decent enough match. Some makers have found that
the watercolors make the wood expand and use Ammonia or Nitric Acid. If using high-
quality boxwood, I have not had any problems as the wood is very fine grain and stable.

Ream the holes, starting with the G peg, keeping even pressure on the reamer and
 32-4

not letting it wander in any direction. Keep an eye on the reamer so that it is perpendicular
to the center axis of the instrument. (Fig.
32.4) It also needs to be parallel to the
plates, that means that the pegs will be
parallel to the top and back plates when
viewed from the top of the scroll. (Fig. 32.5)
If you start to get off track, you can push on
either end of the reamer to “move” the hole

Figure 32.4
slightly. This must be done only to the point
so that the hole can again be reamed round,
as this process will have made the hole oval.

When the peg can fit into the hole and

reach all the way to the other side, measure
Figure 32.5 the distance from the peg box wall to the
collar. This distance, when finished, should be 12-13mm. As you get close (the last 3 mm’s
or so) turn the reamer in the opposite direction and rotate to burnish the holes. This will
help prevent the pegs from working their way in during the first few months as things settle
in.

It is a good idea to also start using the peg lubricant a few mm’s out from the final
dimension. I like the Hill peg compound, but I have been very happy with Lava soap. It has
a little pumice in the soap and so it allows the peg to both stick and slip. Some people fear
that the pumice will wear the wood and make the peg move in prematurely, but in actual
use for 30 years I have not found this to be the case. Some makers will limit the pumice by
using regular bar soap like Ivory and a little bit of pumice powder separately. In any case,
pumice breaks down very quickly, and any wear would be very short lived. Others use only
peg compound and some use regular soap and chalk, although I find chalk has too much oil
and the peg can freeze up in the hole.

To use the peg soap, put rings of the soap around the pegs where the peg hits the
holes in the pegbox walls. (Fig. 32.6) Work the
peg around in the hole and repeat the
procedure until the peg stops creaking as you
turn. Continue to ream backward and apply
soap until you reach the end desired
measurement. You may have to again ream the
hole forwards to remove material if you are not Figure 32.6
making any progress burnishing the hole. Don’t mix up the pegs, since the further up the
peg box you travel towards the scroll, the shorter the finished pegs will be and thus the
closer the two rub points will be.
 32-5

When all of the pegs are fit, using a pencil, mark all the way around the small end of
the peg where it exits the peg box wall. (Fig.
32.7) Removing one peg at a time, use the
hobby saw to cut off the end of the peg
being careful not to split the wood when
sawing through. It is even better if you can
turn the peg as you saw from all around,
finishing in the center of the peg. A simple
holding Figure 32.7
jig can
be made from a scrap piece of 1x2, drilling a series of
holes and reaming them to different sizes. Clamp the
block in a vise and insert the peg so that the end with
the cutoff line emerges. Then use the hand saw to cut
the end off while rotating the peg in the hole. (Fig.
32.8) A band saw with a
fine-tooth blade can also
be used, but care must
be taken to not chip the
Figure 32.8 peg.

Take the flat file, and while filing from the outside
toward the inside, round the end of the peg to a ½mm dome
shape, ending up so that the peg is about 1mm inside the peg
box wall. (Fig. 32.9) This will allow for a little movement in
during the initial settling in process. The cut off block can also
be used to hold the peg while filing.

Sand the end of the peg with 220 dry, then 320 with Figure 32.9
oil, polishing the end of the peg. Repeat this process for all of the pegs, pulling out one peg
at a time so that they do not get mixed up.

Measure in from the inside of the pegbox wall on the head side of the peg. Mark a
position 1/3 of the total width of the peg box. Remove the
peg and drill a 1/16”
hole through the peg
at this point. (Fig.
32.10) File a small
groove perpendicular
to the peg shaft using
a round needle file. Figure 32.11
(Fig. 32.11) A battery powered drill is much easier for this
Figure 32.10 process, a drill press even easier, but a hand drill can also
be used. Lube up the peg again.
 32-6

Nut

The Nut is made from Ebony and the grain runs across the fingerboard so that the
strings do not wear grooves too
quickly. It is best to split the Ebony
from a chunk of wood, like an old
cello fingerboard. They are also
available already roughed out, but
they will be large in all directions,
so you don’t save much by getting
them that way.

Figure 32.12 You will need to form a

piece that is 6mm wide x 10mm
high x 24mm long. (Fig. 32.12) The nut fits on the flat area that was left above the
fingerboard. The bottom and the side that touches the fingerboard need to be flat and
perpendicular to each other. The top of the nut under the strings will end up being about
4.5mm wide as it slopes towards the peg box.

Trim the nut to width and file for a perfect fit and extension of the sides of the
fingerboard. The back edge of the nut, the one that faces the scroll, is at an angle that will
appear to be an extension of the heel end of the pegbox. When planed down, sand this
slanted side with 320 (do not sand the sides that will be glued as they can be rounded
over). Trace the shape of the fingerboard onto its face and trim it to 1.5mm above the line.
The line itself gives a little height. Glue it to the neck and fingerboard with a couple of drops
of glue on each surface.

When the glue is dry, take a flat file and bring down the height of the nut. The height
should be around 1.25-1.5mm on the E side and 1.5-
2mm on the G side. The curve of the top of the nut
should start right where it meets the fingerboard and
round towards the pegbox at an angle that points the
strings toward their respective pegs. This means that the
E and G sides will be more curved than the A and D
string areas. (Fig. 32.13) The back corners will go all
the way down to the pegbox. The strings should not
bend abruptly when entering or leaving the nut.

If any additional work is needed on the sides, do Figure 32.13

that now with a knife. Chisel and finish up with 220 and
320 sandpaper, keeping all the lines crisp. Wrap the sandpaper around a small stick of wood
to keep things flat. The grooves of the strings should be between 1/3 and 1/4 of the string
diameter and should be just deep enough to keep the strings from coming out of the
grooves. If the string sides are pinched, it will adversely affect the tone and cause the string
to unravel and break. Mark off the grooves with a divider, the E and G will be separated by
16.5mm with an even space on each side. Next mark the A and D grooves each 5.5mm
from the outer grooves. A triangular needle file is useful to start the grooves as a round one
 32-7

may want to skid across the surface. Keep the grooves parallel to each other and
perpendicular to the center axis of the instrument. Using a rat tail or needle file, which is
thinner at the end than in the middle; file down the groove so that it is as wide as the string
and the bottom of the groove is about ½ the diameter of the string above the fingerboard.
Use a little mineral oil or nose oil on the finished nut, then use a pencil and apply some
graphite to the grooves.

Endpin

This should be of the same material as the pegs and tailpiece. Some models are
available in different shaft diameters, so, if possible, get a smaller one but still for a 4/4
violin. A 3/4 would do, but no smaller. We do this so that the initial hole is not made so big,
so that in later years when a new one is fit, there is plenty of room to enlarge the hole. Trim
the end button as you did the pegs although they are hard to hold so a leather glove or a
piece of leather might be needed to get a good grasp and protect your fingers. They make
endpin holders for this but they are expensive.

Once the button is carved down, use the peg reamer to open up the hole in the lower
block. Be sure to keep the hole straight in both directions. It is easy to get carried away
and go too far or get off angle, so a helping pair of eyes might be good. Burnish the hole as
you did the peg holes. Check the fit frequently and it should require a little pressure to get
the button seated firmly and all the way tight to the instrument.

Tailpiece and Gut

Any style of tailpiece is acceptable; however, it is best to be of matching wood to the

pegs and endpin. If you use Ebony pegs, use an Ebony tailpiece or a black one. All violinists,
but baroque players, use at least one fine tuner for the E string and this is a must because
the string is made of steel and requires very small adjustments to get the correct pitch
while tuning. The fine threads on the tuner will allow for that. If you will be using more than
the one fine tuner, it is advisable to use a tailpiece with built-in tuners so that the after-
length of the string will be the correct length. The after-length is the distance from the back
of the bridge to the tailpiece saddle. A very good quality tailpiece with the tuners attached is
the Wittner Ultra brand.

The after-length for a violin or viola is 1/6th of the string length. The standard
vibrating string length
would be 330mm. Divide
that by 6 and you get 55.
This is the distance from
the back of the bridge to
the tailpiece saddle. (Fig.
32.14) This length is set
by adjusting the tailgut to
the correct length. The
most common tailgut is
Figure 32.14
the Sacconi, but a braided
 32-8

wire one by Wittner and a Kevlar tie one are great and those can improve the sound of the
instrument as they are more flexible (Fig. 32.15). We will deal with the adjustable ones
here.

You install the tailgut by removing one of the little

nuts from the end of the tailgut and inserting that end of the
tailgut into one of the holes in the
tailpiece from the inside pushing it
through until the other brass screw
touches the tailpiece. Then push the
end without the nut, through the other
hole and reattach the nut. (Fig. 32.16)
The tailpiece pictured is the Wittner-
style; the tailgut is inserted into a
wooden tailpiece in the same method.
Figure 32.15
Tighten both nuts down on the
threads a little bit, and then slip the tailgut on the end pin. While
pulling the tailpiece tight as if it had strings on it, make sure that the
tailpiece clears the black saddle on the
edge above the end pin. (Fig 32.17)
You don't want it touching or you will
Figure 32.16
get a rattle. Adjust the length of the
tailgut until the tailpiece just clears the saddle or until the
approximate after length is reached. With some tailpieces, it
may be necessary to trim a little wood from the underside to
clear the saddle. You will also need to string up the
instrument to pitch and check the length of the string
between the tailpiece and the bridge. This process will take
some trial and error and after the strings are on and
Figure 32.17
tightened to pitch, it may need to be adjusted again.

Once you have the tailgut adjusted, if it is the Sacconi style, trim off the excess ends
with a wire cutter or knife, about 1/8" from the brass nuts and
then, using a lighter, burn the ends slightly until they mushroom.
(Fig. 32.18) This will prevent the brass nuts from coming loose.
It may also be necessary to cut off the ends of the metal Wittner
tailgut if they don’t fit in the space provided; this is best achieved
with a strong wire cutters or nippers. Some opening up of the
scooped-out section on the bottom of the tailpiece may be
needed. Occasionally, the holes for the tailgut are not of a
sufficient diameter and larger ones will need to be drilled.

When installing the braided steel adjustable style tailgut, Figure 32.18
the trimming of the extra or burning of the ends is not needed.
 32-9

The after-length can also be looked at in terms of vibrating pitch. For example, on
the violin, the after length of the D string can be tuned to an A; for cello, the G string after-
length should be a C. The pitches are most accurate with natural gut strings as metal
wrapping and the silk threads added can all alter the pitch somewhat. This is why I use the
1/6th system, as it is more accurate.

As mentioned above, using the post-style add on string adjusters on a tailpiece can
interfere with the after-length distance. It also adds a lot of weight close to the bridge
where it dampens the instrument's sound. When using just one of the post-style string
adjusters, it doesn’t have much of a noticeable effect, but if four of them are used it can be
detrimental to the sound, both as mentioned above, but also because of the dampening
effect. The new synthetic tailpieces with built-in tuners like the one mentioned, solve both
problems and have other advantages as well. They maintain proper after length, reduce the
weight at the bridge end of the tailpiece, and are less likely to cause buzzing from tuners
coming loose. On violins and violas, you also have a much less chance of damage from the
tuner arm coming in contact with the top. I like the ones made by Wittner and the Wittner
Ultra Classic is a version with no tuners, just like a wooden one, but considerably lighter and
almost unbreakable; you can just add the E tuner.

Some very small tuners are available that fit into the slot of the tailpiece, coming up
from the bottom side. These are very lightweight but have the disadvantage of being the
single prong style which requires the use of a loop end string. These tuners can be a little
sharp on the prong and thus cut the string more easily. They also don't last as long and
some models can lift the tension of the string out of line from the top of the tailpiece,
causing the tailpiece to change angles.
 33-1

Ch. 33 - Soundpost and Tonal Adjustments

The soundpost is often referred to as the soul of the violin. Adjusting it and
getting the correct fit in the first place is essential and a poorly placed post can really hurt
the sound of even a fine instrument. The post must be fit to the shape of the inside of the
instrument exactly; it must be of the proper length to be in the best position for optimal
sound and can’t be either too tight or too loose. The proper position is, however, not
standard since each instrument will respond slightly differently given all of the other
variables in the instrument's construction. Things like varnish hardness, wood grain of the
top, the wood thickness of the top, as well as the wood of the post itself, all affect the
sound.

The best way to proceed is to always start by positioning the post in the same spot
on all instruments and then adjust to improve the sound. It may be necessary to fit several
soundposts during this procedure to get the desired results.

The basic position of the post is centered on the treble bridge foot and behind it by a
similar amount of the bridge's
thickness. (Fig. 33.1) It is best to
start around 2mm closer to the
center of the instrument and
slowly trim the post shorter until
the sound and fit is optimal. If
you take a small 6” metal ruler
bent about an inch from the end,
it can be inserted into the “f” to
measure the distance that the
post is in from the “f” hole edge.

Figure 33.1 This can be compared to the

distance the bassbar is in from
the bass “f”. In a perfect world, they should be equal.

As an alternative to using a ruler, a business card can be inserted and marked with
the bassbar's distance in from the "f". The post can then be measured and set using the
same rough position. In addition, the card can be cut down the center so that the post's
position can be directly compared to the bridge foot during adjustments.

The post should also be set closer to the bridge than where you expect it to end up,
so start around 2.5-3mm behind the bridge.

Soundpost wood can be purchased or made; the wood should be narrow straight-
grained Spruce that is split, so that the grain lines run true and straight through the post.
Wood left over from violin tops or wood from bassbars are fine. Typically, I like to start with
wood that has a similar grain width to that of the top plate. If you want to make your own,
use a long piece rather than a short one, so that you will have enough for multiple posts as
you will need extra. Commercially available posts are typically about 18 inches long in
length and are about 6.3mm in diameter for a 4/4 violin post. This width will just clear the
opening in the “f” hole on most standard violins. Occasionally it may be required to make an
 33-2

oval post to fit inside a violin with narrow “f” holes. Although a fat post can be inserted
through the lower “f” eye, this is more difficult.

You will need the knife, flat file, 6” ruler, soundpost wood, soundpost setter,
measuring device, inspection light and an inspection mirror for fitting the post.

The measuring device can be purchased or you can simply insert the post down
through the upper “f” eye until it touches the back, and then mark where the post emerges
from the top. If the upper eye is too small a diameter, use a smaller diameter item, like a
needle file. Trim the post material 1mm above this line. This method isn’t as accurate, but it
is free. If you are using a soundpost measuring tool, position the bottom of the tool as close
to the post location. Extend the arm until it touches the inside of the top plate at its proper
position. For a starting point, mark the length and trim the post material 2-3mm above this
line. Then place the edge of your knife against the post, press down and roll it back and
forth until your knife cuts through the post (this is a lot easier than sawing through the
post). After you have become used to the way your soundpost measurer works, you may
find that a different starting soundpost length works better.

An inspection light can be purchased from one of the violin houses or possibly from
an electronics store. A dental style mirror is also available to help see the fit.

Position the sound post so that the grain of the post is at right angles to the grain of
the top, this is done so that the post doesn't damage the top over time.

If you make the post material, take your stock and make a length that is 6.5mm x
6.5mm square using a plane. Then plane off the corners evenly until you have 8 even sides.
Do the same again until there are 16 facets. Take an 8” x 3” length of 150 grit sandpaper
and roll it tightly around the post. Rub it back and forth several times, and then roll the
paper between your palms while it is around the post to tighten the paper further. Sand
again. Continue this process until the post is down to 6.2-6.3 mm in diameter (like the
commercial ones, then sand the same way with 220 grit.

The best way to proceed with the fitting of the post is gradual; the correct amount of
tension is just what is necessary to keep the post from falling down
with little-to-no string tension on the top. When fit, before final
tonal adjustments, the post should be standing perfectly vertical
from both directions. This will require looking through the “f” holes
as well as the endpin hole (Fig. 33.2), the eye must be trained to
see a vertical line when there are so many curves to look past. The
upper block edges can be used as vertical reference lines as well
as using the rib points. This becomes harder on older instruments
as things distort.
Figure 33.2 I like to start by filing the rough angle of the post feet using
the handmade rasp, but a standard flat file can be used or simply proceed to the knife.
Since the post’s ends are end grain, care must be taken not to split the back side of the
post. The basic angle of the feet can be compared to the outside arching of the instrument
in that area. As you get close, you need to switch over to the knife. A knife with a single
side bevel is best but not necessary. Although the violin's arching inside the instrument is
 33-3

curved, the soundpost's diameter of just 6mm is small enough that making it flat is fine,
just don't make it concave. Some makers finish it with a file and this can work since the end
of the post is actually convex.

The wood will cut best if slightly wet with the tongue. When cutting with the knife as
with the file, care must be taken not to split the wood. It is best to rotate the knife while
cutting so that the end of each cut is actually cutting inward. These cuts should be very thin
shavings.

The soundpost setter, an S-shaped tool with a sharp edge on one end and the
other end being used for repositioning, is
pushed into the post wood on the edge with
the grain and at a position approximately
2/5ths of the way down from the top. (Fig.
33.3) I also like to cover the setter's metal, Figure 33.3
where it might hit the sides of the "f" hole, with some thin rubber tubing; heat shrink works
well. After some trial and error, you may find that a different position or angle works best
for you. The post should always be inserted into the instrument in the same position with
the setter positioned at the “f” nicks. The only way to properly make the adjustments is to
put the post back at the same place. This is where the bent ruler and the mirror comes in
handy. Keep the cuts on the soundpost so they are perpendicular to the plates in the
direction towards the neck and tailpiece, while obviously, the other direction is angled.

When you place the post in through the “f” holes to test the fit, the post is inserted
at the nicks, the widest spot. I start with the setter perpendicular pushing the post in part of

Figure 33.4 Figure 33.5

the way, then parallel to the “f’’. (Fig. 33.4, 33.5) Push the post all the way in angling the
bottom towards the bass side. When clear of the “f”, tilt and turn the post so that the setter
is now more perpendicular to the top’s grain and at the nicks.

Position the post’s bottom against the back plate but with the post’s top at a little bit
of an angle towards the bass side. (Fig. 33.6) Press down on the post at (A) which should
be closer to the bass side than the final desired location. While still pushing down, pull the
top forward toward (B) to “tighten” the post in the cavity. (Fig. 33.7) Once positioned, if it
 33-4

is angled by more than about 5-10°, don’t try to move the post into a vertical position with
the hook end, but start again with the base
of the post positioned a little further
towards the violin's center. If you try to
move it into place when it is at such a bad
angle, the post will most likely fall and you
will have to retrieve it. Not only will it fall,
but you could damage the inside of the top

Figure 33.6

plate with the sharp point of the post. Many

violins have dents on the inside caused by the
inexperienced hand, sometimes making it
difficult to fit a post.

You can purchase a retrieval tool

from one of the violin houses or simply turn
the violin over and shake the post and roll it
Figure 33.7 until it comes to the “f” hole, then pull it out
using the tip of the setter to rock it through the “f”’s at the nicks. Cellos and basses are a
bit too big to be shaking around above your head, so a retrieval tool is especially a good
idea.

After the initial insertion of the post at its approximate position, maneuver it into the
proper place by using the hook end. If it rotates inside the violin while doing this, it means
that the ends of the post are not perpendicular to the lengthwise direction of the violin or
the inside of the top is deformed.

Look at it very carefully from all directions to see what cuts might need to be made
to make it a perfect fit, as well as to how much it might still need to be moved towards the
treble side. Cut the smallest amount at one time to make an adjustment to fit unless you
are simply trying to make it shorter. If trying to make it shorter, try to remove an even
thickness sliver from one entire end. Continue in this method until you have a post that is fit
all the way around top and bottom, is standing vertically in both directions, is standing 2.5-
3mm behind the bridge and is sitting 1mm towards the bass side from the optimal position.
The post is tight enough when it stays where you put it when the setter is removed and is
loose enough so that it doesn’t push up the wing of the treble “f” hole. When properly fit, it
will not have any space around the top and bottom anywhere around its edge.

Note: If the post is too long and tight, it can cause damage to the top, even cracking it, at
the extreme. I once removed a soundpost from a cello where the top of the instrument
dropped by 1/4" when the post was removed.
 33-5

Learning how to manipulate the setter through the “f” hole is a skill that will need to
be developed over time. When I have taught soundpost setting, even on a post that was
already fit correctly, it sometimes took the student several hours just to get the thing
standing in roughly the correct place. This is no time for impatience, so take a breath and
learn the skill. It will take some time to get the feel of the setter and the sensitivity needed
to make the small adjustments in and out and up and back to change the tone of the
instrument.

For now, that is all that can be done with the post until the bridge is cut and the
instrument is set up. The following adjustments will give some guidance when making tonal
changes, be sure to work in tandem with the bridge tonal adjustments.

Soundpost tonal adjustments

The tonal changes that are made to a violin with the soundpost are very small in the
actual distance that the post is moved (Fig. 33.8), usually no more than .5mm in any
direction at a single time. Any more adjustment than that, and something will be lost in the
sound, even if you are to make some gain
somewhere else. The rule of thumb is that the
instrument will become brighter if you move the
post toward the treble side (B), and warmer if it is
moved toward the bass side (A). It will become
more responsive if it is moved towards the bridge
(C) and less responsive when moved towards the
tailpiece (D). These adjustments must be made
with the tension reduced from the top or damage
to the interior will happen. All tonal adjustments
should be made in small increments.

Tonal adjustments don’t always make

sense and don’t always follow the rules; some of it
Figure 33.8
is just trial and error. The change is determined by
ear and thus is subjective to the player. Because of this, any changes must be made with a
purpose, and not just random, otherwise, you will be going in circles with no way to know
the way back to what might have been the best option. These general guidelines are just
that, general, and it takes some time to get used to what does work and to get the “feel” of
the fit. Tonal changes can be very subtle and may take some playing before you can hear
the change. It helps to be a good player, but over time, most people can hear the changes.

A fatter post will create a darker sound, as will a softer post and one with fewer
grains. If you have a wolf tone, a thinner post might help, as well as a thinner gauge G
string.

Moving just the top of the post toward the bass side (A) will enhance or focus those
strings, moving the foot of the post towards the treble side will further enhance the lower
strings. This, of course, sets up another problem, in that the post may not fit well anymore
since it is no longer standing straight.
 33-6

To enhance or focus the upper strings, move the top of the post toward the treble
side (B). If the upper strings need to be enhanced, even more, move the post both top and
back closer to the treble “f”. Remember that you may need to shorten the post or it will be
too tight.

When adjusting the post closer to the bridge (C), too close will set up a scratchy,
harsh sound that is harder to play but louder. Moving it away (D) will give you a fuzzy
sound that is softer and with less concentration of sound.

When doing adjustments, it is always best to loosen the strings a reasonable

amount, so that you aren't forcing the post across the inside surfaces of the plates, as that
can damage them. So, lots of trial and error and lots of playing, tuning and retuning. Always
recheck the bridge position after tuning up as it can easily be moved and then another
variable is put into the mix. Also, always check to make sure that the tailpiece and tailgut
are properly in place, as they can also get out of whack.

After a few months, the soundpost may need to be replaced as it may be too short.
 34-1

Ch. 34 - Bridge
The violin bridge is a link between the strings and the body of the instrument. The
E side of the bridge is supported by the soundpost which helps greatly in the transmission of
the higher frequencies. The G side is supported by the bassbar which rejects the higher
frequencies and aids in the transmission of the lower frequencies. Since the Bass side is
"free" with no connection to the back plate like on the treble side, the instrument is put into
a pumping or bellows type of action.

Since the bridge has so much to do with getting the sound frequencies to the top of
the violin, the way the bridge is cut, along with the quality of the material it is made from,
can impact the instrument's sound, sometimes a fair amount. As an experiment, you can
put a clothespin or another type of weight/clamp on different parts of the bridge and hear
the results. If a piece of wood is used that is too soft, it will dampen the sound, as will a
bridge that is left too thick. How the bridge is cut and shaped is another variable. These cuts
can make a difference as they will dampen or accentuate certain strings, but if these cuts
are made too large it can weaken the instrument's sound and effect the wood itself making
the bridge warp easily.

The basic size of the finished bridge is: width of 41mm, 4.2-4.6mm thick at the feet,
and 1.5mm thick at the top. The goal here will be to cut a useful average quality bridge,
not to make the perfect one. Making a bridge that works best for a specific violin comes
with experience. The more bridges you cut, the more experience you will get in adjusting
them to your personal preference. Information is included for tuning and adjusting as you
get better at fitting bridges.

Selecting the perfect bridge blank is like picking the best violin, every maker and
restorer will have their own ideas. The best bridge companies
are Aubert, Despiau and Milo Stamm. Quality bridges are
usually cut with the medullary rays (Fig. 34.1) longer on one
side.

NOTE: The medullary rays are the lines that go top to bottom
on one side and become dots on the other. This is the perfect
bridge as it means that the wood grain is perfectly
Figure 34.1 perpendicular on the side with the dots and thus the angled
rays are where the wood is bisected by the plane of the cut.
Many cheaper bridges aren't cut very accurately.

Many makers like the side with the shortest almost pinpoint part of the ray, to face
the tailpiece, while others like the reverse. I won’t try to debate this issue as there are
many valid reasons to support both views. The bridge manufacturers used to take a side in
this debate, but have done so less in recent years. Many makers will put the
manufacturer's brand stamp of the bridge on the side facing the tailpiece, while others will
pick the side they like the grain pattern best on, and if the brand stamp disappears in the
process, so be it.

If you look from the side of the bridge, you can see which direction the cutouts were
 34-2

machined from as they will be perpendicular to that side. This should become the back of
the bridge when it is cut. The wood for a high-quality bridge should have grain that is fine
and even, but not too fine. Many makers will drop the bridge onto a table or marble slab to
hear the “ring” of the wood; this should be clear. When it doesn’t ring clear, some makers
will heat the bridge on a hot plate or in a skillet to make sure that the wood is very dry. If
doing this, be sure to stop when it starts to change color. Heating the bridge will also
harden the wood which makes the bridge less susceptible to warping.

For our discussion, I will use an Aubert #7 which is one of the industry standards
and are used by many makers. Decide which bridge side will be the back and mark it as
such.

Fig 34.2 shows all of the parts of the bridge.

If the violin has been made correctly, the “f” holes will be symmetrical on the face of
the instrument. But just to be sure,
place the instrument on the marble on
its edges. Measure up from the marble
to the inside of the small eye. Measure
up from the marble to the inside “f”
edge at the notch. Measure up from the
marble to the end of the fingerboard at
that side. Switch the violin over to the
other side and do the same. All of the
measurements should be the same for
both sides. Assuming they are correct
then proceed; otherwise skip to the out Figure 34.2
of square instruments section at the end. An out of square instrument is something that is
not uncommon, especially on old instruments, where the inside form was not used or where
the neck has not been installed properly.

The bridge needs to be positioned straight and square between the “f” holes and
195mm down from the upper edge next to
the neck. This is assuming a 13cm neck
length. The nicks of the "f" are not the
best choice for determining bridge
placement, as they are often not in the
correct place.

Set the bridge in place. Using a

soft pencil or china marker (grease
pencil), mark off where the back of the
Figure 34.3
bridge will be. The top of the finished
bridge is 1.5mm thick and the base of the bridge is 4.5mm average thickness. If you extend
a line down through the bridge from the front of the top of the bridge where the strings
start vibrating, this line will end up at 2/3rd's from the front of the finished bridge's foot -
4.5mm. (Fig 34.3) Place the bridge at its correct location according to the Mensur ratio (this
 34-3

may or may not be where the inner "f" nicks are) so that the bisecting 2/3rd line of the
bridge falls on the Mensur location of the bridge. Measure and mark this position as well as
a 41mm width space centered on the
instrument between the “f”s. These marks
will give you the back and width positions
of the bridge. (Fig. 34.4)

Place the bridge on the top in this

location and sight down the fingerboard.
If the neck is set properly and everything
Figure 34.4 is correct, the bridge will be positioned
side to side evenly centered with the
sides of the end of the fingerboard. In
addition, when looking from end to end
of the fingerboard sighting towards the
bridge, you should not see any of the
“heart” of the bridge. (This will mean
that the fingerboard height is in the
correct range). Using the neck angle
stick is also useful when checking a
Figure 34.5
violin neck fingerboard height. As you
can see in Fig. 34.5, the fingerboard must be between the lines shown or the bridge will not
work. This is, of course, useful when working with a raw uncut bridge. Measuring the height
of the fingerboard above the instrument's body is not an accurate measurement, since
arching shapes vary and thus the measurement can be off by several mm's.

Start by thinning the bridge down to 4.7-4.8mm at its base. Only do so on the front
of the bridge below the heart as you run the risk of breaking off the Heart Wing (the little
dangly thing in the heart). The best way to reduce this thickness is by planing. However,
this is difficult, as the bridge is tough to hold because of its thin size, and the plane needs to
be sharp enough not to get tear-out. In my opinion, it is not worth the trouble for the
novice. In this case, I would prefer to use a sanding board. I place a sheet of 120, 150 and
220 grit Garnet paper as well as some 320 and 400 wet-dry paper on a stiff clipboard. Some
makers say that the sandpaper makes for a dull look in the wood, but I have not found this
to be an issue. The sanding particles can dull edge tools, but if so, it is negligible.

Sand the bridge down with 120 to 4.7-4.8mm, using your first and second fingers to
press on the center of the blank, while holding the
bridge by its edges with your thumb and fourth finger.
If you will be doing many bridges, especially cello
bridges, a disk sander is a useful device. Continue with
150 and 220 grit to a finished thickness at the base of
4.6mm. Fig 34.6 shows the approximate finished
thicknesses, but for now, we are only worried about
the bottom half. It is now time to fit the feet
Figure 34.6
 34-4

If you want to try to plane the bridge to thickness, that is fine, but be aware that a
very sharp plane is needed so that the grain is not torn. If you get tear out, it may go too
deep and thus ruin the bridge blank. To hold the bridge while planing, a bridge holding
device is useful. For fitting the bridge feet, some makers prefer a knife with a curved blade,
but I find for new instruments with no distortion in the tops, this is unnecessary and it
would be an added expense for the beginner. It is also much harder to sharpen such a
knife.

You will note that the bridge feet are slanted upwards toward the center following
the curve of the instruments top, as well as being extra thick. The extra thickness takes into
account different height neck angles and if you have set the neck properly at 27mm (using
the neck stick) much of this excess will be removed. Start by removing wood from the
bottom of the foot using the knife, always cutting from Toe to Heel (the outside edge
towards the center of the bridge). Keep the knife blade perpendicular to the back of the
bridge. This will require a change in the angle you hold the knife when you flip the bridge
around to do the other side.

Proceed slowly, while frequently checking to see how the feet “fit”, and then cut the
areas that hit so that more of the feet come in contact with the top. Wetting the bottom of
the bridge foot with your tongue makes the wood a little easier to cut. Keep the back of the
bridge perpendicular to the top of the violin. This is the same procedure that was used when
fitting the bassbar (excluding wetting the wood) and if you would like, you can rub a grease
pencil on the instrument’s top to transfer the spots that need cutting onto the bridge feet. I
do not, however, like to use this technique on new instruments if I am at all worried that
the varnish could be a little soft. Some makers also use carbon paper (carbon side up) for
this process. In the end, it is best just to use your eye, if you have managed to get this far,
you can probably handle it without the crutch.

If you use a grease pencil or carbon paper, don’t stop using your eye, as you could
be getting a false result for a number of reasons during the transfer. During the fitting
process, it is not unheard of, and is done by many master violin makers, to scrape a slight
and I mean slight, hollow in the bottom of the foot of the bridge. This hollow should be
almost undetectable. This makes it easier to fit and ensures that the edges fit more
perfectly. There is also some physics rationale that says that the concavity could allow for a
quicker response time.

The goal is to get a gap-free fit all the way around. Place the bridge in place as
lightly as possible during the checking procedure so as to
not distort the bridge feet while fitting. It is, however,
good as you approach the correct fit, to do just this to
simulate the downward pressure of the strings. (On
cellos, this is so important that a device is used to hold
the feet spread a little bit.) During the bridge fitting
process, the beginner may go through a few bridges, so
you might want to plan on buying several blanks.

Figure 34.7
Generally speaking, you want to remove as much
 34-5

wood as possible from the bottom of the feet so that the tops will need as little trimming as
possible. (Fig. 34.7) In the beginning, this will be easy, since getting the bridge to fit will
use up much of the excess until you train your eye and hand. If you want, you could buy
some cheap bridges to practice with, but often the grain will be so awful that you won’t
really be getting much practice out of it. The end result must also include feet that have the
same amount of wood removed on the treble and bass feet or the top of the bridge will be
tilted to the side.

When the feet fit perfectly, the top of the bridge is cut to height above the
fingerboard. On a violin, this is 3.5mm on the E side and 5.5mm on the G side. This is for
the standard synthetic core strings. Gut strings can be slightly higher, while Steel strings
can be slightly lower. These measurements are taken at the end of the fingerboard from the
bottom of the string to the top of the fingerboard. It is also a good idea to leave it slightly
high in case you may have been off a little in your measurements. You can use a temporary
measurement of + 1mm. I always make my measurement for the height by measuring from
the fingerboard surface by the bridge to the bottom of the string. Different makers have
their own methods, but I find this to be exceptionally easy and quick for repeated checks.
To make these measurements, it may be necessary to temporarily put on an E and G string.

My eyes have been trained so that I do not need the strings, but rather I just put a
string height mark on the bridge while holding it in place and sighting down the fingerboard.
Another way to do this is to sight down the
fingerboard to the bridge, placing a mark on
the bridge at the location where the
fingerboard extended would hit the bridge –
marks are exaggerated. (Fig. 34.8).

Measure up from this line marking the

3.5 and 5.5 heights, plus extra if wanted, and
Figure 34.8 use a bridge template to transfer the bridge's
top curve. You could also use a standard pencil
to transfer the fingerboard shape to the bridge. Since a pencil is about 6mm in diameter,
this line will be about 3mm higher than the fingerboard. Add the appropriate additional
amount on each end and use the template to connect the lines. Bridge templates are
available to purchase with violin, viola, and cello versions, as well as fingerboard curve
templates.

Another way to do bridge heights is to make a bridge pin gage. Used like the
pencil, just place the appropriate side facing the bridge and
put a small mark on the bridge. Then use the template to
transfer the curve. Always cut it a little high as it is easy to
take off more wood, you can’t put it back.

The curve of the top of the bridge is basically a radius

of 41-42mm. Another way to look at it is the intersections of
the two lines, one going through the E and A strings, the
other through the D and G strings. This intersection will
Figure 34.9
 34-6

create an angle of 150° (Fig 34.9). Make a template by cutting some template plastic in a
42mm wide strip (approx. 2-3 inches long). Draw a center line down the 42mm width and
draw a 42mm radius curve using a compass. Trim the plastic to this line. I slightly flatten
the E string side using a file. This is because the E and A strings aren't as thick
and don't vibrate as far as the D and G strings.

In order to get the final string height correct, it will be necessary to put on
and tune up the strings. We have a few more things to fit before doing that and we
can do most of the rest of the bridge first. After the bridge height is cut close, thin
the top section of the bridge in an arc from the waist to the top. (Fig 34.10)

The bridge's top thickness is 1.5. To maintain this thickness all across its
top, it will be necessary to sand/file the bridge more at the corners than the
center. It will end up having a sort of shell or dome shape when viewed from the
top. (Fig. 34.11) This shape is necessary to maintain the strength of the bridge. A
flat file is useful in bridge trimming. I like a handmade rasp by Herdim (#5) but
the standard file (slower)
or a stick with sandpaper Figure 34.10
Figure 34.11 glued to it will also work. If you make a
sandpaper stick, make one about the size
of a wooden 1’ ruler and glue 120 grit to one side and 150 to the other. An old yardstick cut
to short lengths works well. As before, you can also use several grits of sandpaper on a
clipboard (100, 150, 220, 320). This can round over some of the sharp edges if not done
carefully.

When the bridge top is thinned down, it is time to check and do the final height
adjustments. To do this we will need at least two strings, the E and G. Find the center of the
top of the bridge. Take the small square, place in on the top of the violin behind the bridge
so that the square bisects the heart. Then place a mark on the top of the bridge. From this
spot, measure out to either side 5.75mm (half the string spacing width of 11.5mm), this will
be the A and D slots, and mark off the full 11.5 on either side which will give you the E and
G strings. The dividers could also be used, but it is hard to stick the point of the divider into
the top of a bridge (which is only 1.5mm thick) without possibly making a chip in the wood
or stabbing the tip of your finger. There is a device with 4 rails set in it for marking all sizes
of bridges. If you plan to do a lot of bridges, it can be very useful.

Use the small triangular needle file to make very small nicks in the bridge at these
marks and follow up with the rat tail file keeping the notches a similar width to the string
that will be in it, and keeping the notches
no deeper than 1/3rd of strings thickness.

Place a little graphite in the notches

using a pencil; this allows the strings to
pass through them more easily. (Fig.
34.12) Slowly tighten up the E and G
strings, alternating between the two so
that all of the tension is not on one side. Figure 34.12
 34-7

Keep checking to make sure that the bridge is still in the correct place and not leaning
forward as it may do while the strings are tightened. If the bridge starts to tilt forward,
grasp it on both sides with the thumb in the front and the first and second fingers in the
back, slowly reposition it so that the back of the bridge is again perpendicular to the top.

As you tighten up the strings to pitch, check to make sure that the E and G strings
are both equidistant from the edge of the fingerboard. Use a short ruler to check the
distance under the string to the fingerboard and file until they have reached the appropriate
distances of 3.5 and 5.5mm respectively. If you have to lower the height of the bridge by
more than just a millimeter, you may need to re-file the top and then re-notch the grooves.
If you have to go down a distance, be careful as it is easy to make the spacing uneven as
you file down.

The string height might feel better to the musician's fingers if it were lower, but it
will really depend on the kind of strings you end up using. The stiffer the string, the lower
the string can be, to a point. The reason for the larger space under the G string, is that the
string travels more on the thicker, softer strings. If the fingerboard has too much dip, it will
also make the strings feel harder to press down. Gut strings travel more than steel strings,
with synthetic strings being in the middle. For now, leave the heights at 3.5 and 5.5.

When the string grooves are done, if they are deeper than 1/3rd the string thickness,
the top of the bridge will need to be lowered. Re-draw the bridge curve on with the
templates using the E and G grooves to align the top of the template. With a file or a
sanding stick, bring the bridge height down to the template line and re-file the face of the
bridge back down to 1.5mm thick across the top, maintaining a gentle curve from the waist
up. Adjust the waist and other thicknesses again as needed.

With the strings tightened and thus tension on the tailgut, it is a good time to check
the after-length (the distance between the back of the bridge and the tailpiece) and note
how it needs to be adjusted.

When you are working with the bridge and tailpiece and you are installing and
removing the bridge to work on it, place a pad of leather or cardboard under the tailpiece to
protect the top from the fine tuner and the sharp edges of the tailpiece.

Next the bridge's outline and cut-outs are trimmed, which involves the following:

• Thickness and shape of the feet

• Size and shape of the ankles and shins
• Curve and height of the bottom arch over the feet
• Height and shape of the legs
• Shape and size of the kidneys
• Shape and size of the kidney arms
• Shape and size of the heart and what, if anything, to do with the heart wings
• Slanting the arms inward toward the base and bevels on the edges of the sides

These parts of the bridge are adjusted for weight, flexibility and tonal improvements.
They are left very slightly oversize in the manufacturing process and need to be trimmed
slightly based on sound and individual maker's needs. When you get to the point of being
able to hear very slight tonal differences when these locations are adjusted, you may want
 34-8

to do the adjustments slowly while listening to the results of each change.

Excess wood in the arms can dampen the sound, if it isn’t in the path of the bridge
support. If the legs and waist are too thin, it can affect the flexibility.

When trimming the bridge, a good working surface is the “V” board like the one used
for the “f’ holes, but a smaller version may be better utilized. Different makers use different
methods for making these adjustments; files and knives are the tools of choice. A very
small knife, in the 5-8mm width range with a long tip is best for the finer cuts. An Xacto
knife with a new blade also can suffice.

Both ends of the feet (toe and heel) outside of the ankle should be thinned down to
1mm and they should curve nicely around into the ankle like a circle or arc. The very tips
look nice if they swing just slightly upwards, but do not make them too thick as this causes
them to lift with time and not fit to the top anymore. This should be more of a feel than an
actual upturn and looks so much nicer than a downward tilt to the feet. The areas inside the
curves of the ankle should be done with a large rat tail file or a Pippin file. You will need to
work from both sides of the bridge to assure adjustments are made equally on both sides.

The arch across the bottom of the bridge below the waist should be of a similar curve
as that of the top of the violin, but flatter than the top of
the bridge. (Fig 34.13) This curve should not go up too
high into the waist. The arcs on the inside of the ankles
should blend into the arch naturally. The distance
between the ankles should be no more than 27mm. The
ankles themselves
should not be any
narrower than
3.5mm. A knife
should be used to Figure 34.13
cut the arch and
finished with a file if needed.

The kidneys should basically be egg shaped to

slightly square and should flow from the knee all the
way around its curve to the tips of the kidney wings.
Figure 34.14
(Fig 34.14) While trimming this area and the bottom
arch area, maintain at least 5-6mm between the arch and the bottom of the kidney. The
space between the kidney and the heart should also stay around 5-6mm. Often times,
makers remove wood from here just for appearance's sake only and that can hurt the
sound. If too much wood is removed here, the bridge becomes extremely weak both in
structure and in sound. The width in the waist between the kidneys should not be narrower
than 15.5mm. Like the tips of the bridge feet, the wings of the kidneys should also be about
1mm thick and can rise at the end like the feet. After they are all trimmed, take a narrow
chisel or the tip of a sharp knife and cut towards the tip at an angle from both sides forming
a point towards the center of the bridge. This cut should start about at the center of the
narrow part of the kidney wing.
 34-9

The heart can be left alone unless it needs trimming because of a manufacturing
failure. Some makers do trim the heart wing tips the same way that the kidney wing tips
are trimmed, but this is not very necessary except for the purpose of protecting that part
from getting snagged on a cleaning cloth. Many a bridge has been ruined at the last minute
trying to trim this but breaking it off instead. Clarity and focus are lost without this piece.

At this point, mark and notch the center string grooves if they still need it, not any
deeper than 1/3 of the string's thickness. Using a flat file at about a 30° angle, file the top
edge of both sides of the bridge top, then lightly sand with 220 and 400 grit, not sanding
into the face of the bridge. Small decorative nicks can extend in from between the knee and
ear using just the sharp edge of the knife pressed into the wood, being careful not to push
too hard.

The feet can be filed slightly narrower to a minimum width of 11.5mm (take very
little from the outside). The tips
of the feet can be slanted
slightly inward from the bottom
becoming thicker as you move
toward the instrument's top.
(Fig. 34.15) The "Tips" are the
ends of the feet at the outermost
part of the foot and the
innermost part of the foot. This
is really a visual thing but if
Figure 34.15 made too thick, they can detract
from the sound as it pinches the
violin at the soundpost and bassbar areas. Likewise, if the thinnest spot is too thin on the
feet, the tips can rise up in time.

The arms can be tilted in at the bottom by cutting with a knife, but only about .5-
1mm in total, by cutting from the kidney wings towards the top of the bridge. Make this as
smooth a cut as possible or it will look choppy. After the arms are angled in, the edges of
the arms can be chamfered at 45° with the knife, starting narrowly at the top and widening
at the base. When
all the cuts have
been made, (Fig.
34.16) finish off
the bridge with 320
and 400 grit
sandpaper, but only
on the faces not on
the edges. It is best
to have the paper
wrapped around a
stick or better yet
Figure 34.16
 34-10

glued to it so as to keep everything crisp.

The E string groove needs to have a protective piece glued to it to protect the bridge
from the string cutting in. Some string brands come with a little tube or cloth, but this is not
as good as something permanent.
The preferred material is
parchment that is cut in a 9 x
4mm rectangle with the corners
trimmed off. This skin is available
at violin supply houses. It is wet
in the mouth until pliable and
then glued onto the bridge with
Krazy glue so that it wraps
around equally on both sides of
the bridge. Thin leather can also
be used. Be sure to use some
graphite from a pencil in all of the
grooves.

Figure 34.17 shows some

basic cello bridge thicknesses.

Figure 34.17

Some general rules for adjusting a bridge for tonal characteristics. (Fig. 34.18)

In general, the best places to remove wood for improved sound are: the arch, the top of the
legs, and the top of the kidneys. However, just
removing wood from these places without a plan is
not a plan at all.

The thicker the bridge top is, the more

muted the sound will be, keep it under 1.6 but no
less than 1.2mm. As you thin out the top, the
sound gets less muted but also picks up an
unattractive scratchy sound. A violin that doesn’t
have a pleasant sound can often benefit from a
thicker bridge top.

Leave the central spine area (1) thick or power will

Figure 34.18 be lost to the D string.
 34-11

To bring out the bass side sound, thin the bass side (1) slightly or enlarge the kidney by
trimming at (4 & 5), more at (5) both on the bass side. Also, trim the heart at (2) and
reduce the thickness of the arms. The bass ankle could be thinned as well.

If the Treble side needs to be brought out more, leave the thickness alone but enlarge the E
side kidney (4 & 5) on the treble side or possibly enlarge the heart (2) slightly.

To brighten the D and G, thin the bottom half of the bridge.

The lower part of the bridge can mute the instrument, but making it too thin doesn’t keep
improving the volume. The lower limit to the leg and feet thickness seems to be around
4.2mm.

If the waist area is too thick, the sound will be more nasal, but too thin it will sound just like
that – too thin.

To brighten the tone, remove material from the legs up to the waist. If one side needs to be
brightened, a small amount can be removed from the outside of the kidney (5) on that side.
A higher bridge will also make the higher frequencies more prominent.

The kidneys should rise no farther than the bottom of the heart and the space between the
kidneys needs to be left pretty much alone. If too much wood is removed from the top of
the kidneys, the bridge becomes extremely weak both in structure and in sound. (This is
referring to the cut-out shapes, not the thickness of the bridge). The space between the
kidneys, as bridges come from good manufacturers, are almost exactly 15.5mm, so most
makers simply leave that area alone.

Remove most of the wood from the feet (8) as short legs enhance the G & D strings.

Chamfering the arm edges will reduce muting.

Chamfering in the kidney arm area (3) increases the clarity and response, as does trimming
the kidney arm points as described previously.

Width decrease at (4) reduces brightness but also can weaken the arms. This area drops
the frequency the most.

Raising the top of the heart (2) will brighten the D string.

If there is a booming sound on the A string around the "B" - "C" area, remove a little wood
in the bottom arch (6). Lowering the E and A strings will have a similar effect if there is
room. Removing wood from the bottom of the kidneys (7) will help with the boom, but may
hurt the "C" on the A string.

String heights will affect the sound; more space between the fingerboard and the string will
give a clearer sound, but at the same time adds tension and thus a brighter – harder sound.
Different brands and types of string materials also affect the sound, a steel string will be
bright and harsh and compared to a gut string. With the different string types, different
heights might be needed. If cutting a bridge that will be supporting steel strings, you should
make the string heights slightly lower. My height measurements are based on the most
widely used string type today – synthetic core or Perlon strings.

When doing bridge adjustments for tonal purposes, the bridge will be removed and
 34-12

reinstalled many times. For this, so that you do not have to loosen the strings and tighten
them all the time, which is hard on the strings and your fingers, a useful device, is a string
lifter.

NOTE: Some makers “Cook” their bridges. I usually do not as I pick my good quality
bridges directly from the supplier. I have never measured the temperature or time required.
I would consider heating the bridge, if when dropped on a solid surface, it didn't have a
clear ring tone. I would then warm it for a while to dry it out. It will also darken the wood,
but I was never concerned with color as I add color with the shellac sealer or chalk dust. I
use an old fashioned hot plate with the solid metal surface, not the coil style, although that
could be used with a sheet of metal on top of it. I would take the bridge off from time to
time and listen again. I would guess that it was 150-175° and 10-20 minutes.

Compensating for issues - therapeutic bridges

A number of neck problems, such as: misaligned “f” holes, misaligned neck, distorted
violin top or off-center end button, can cause issues with setting a bridge on center. It is
very important that the string path runs in a straight line and doesn’t distort when crossing
the bridge or nut. (The string path shouldn't change drastically after it crosses the bridge.)
This would set up tension issues and thus sound issues. In addition, the strings should be
paired in their respective angles. The E & G and the A & D should each have the same angle
off center. To better understand this, take a string down the center of the instrument from
nut to bridge. The E & G should have the same angle off of this center line as well as the A
& D.

To compensate for an off-center fingerboard (which would require the bridge to be

positioned off center), the excess of one bridge foot can be cut more than the other,
essentially tilting the top of the bridge towards that side of the fingerboard that is off. By
doing this, the bridge can still be placed at the proper location for the bassbar and
soundpost while also being centered on the fingerboard. Even placing the strings slightly off
center on the top of the bridge can be effective to correct a problem. This then sets up poor
angles and changes tension, but the bridge might then be centered.

NOTE: An adjustable mensur divider can be made by riveting two pieces of hardwood or
metal together so that the short ends are 2/3rds of the long ends.

Making the bridge look old

Some makers like to "color" their bridges to make them look older. This can be done
a number of different ways. Staining is not a good idea as the end grain will soak up the
color and look really bad. The most popular ways I've done it or am aware of are:

1. Spray the bridge with a very light color amber spray like Amber or Golden Oak. I
used Mohawk Tone Finish.

2. Aging in a UV cabinet, but that takes time.

3. Spraying with Clear acrylic spray works a little.

 34-13

4. Ground up pastel artist earth tone chalks. Get a set of chalks and then pick a few
to mix together, keep it on the light side. I placed the powder in a small wood box with
some microfiber cloth on the bottom. Just rub the bridge on the fabric.

5. Bulls Eye Amber Shellac, thin about 50/50 or more with alcohol and then apply a
light coat by dipping the bridge and wiping off the excess. Takes some time to dry

Go light on the color and any actual finish like the acrylic or shellac. Any finish will
add hardness and can add brightness to the tone. Too much color and if you have to adjust
the bridge, matching the color is difficult. Often times just a very light spray with the Acrylic
is perfect, it seals and slightly colors the wood. Just be sure, that no matter how you do it,
the wood is as smooth as silk, otherwise sanding marks will jump out at you.

If using a finish like acrylic or shellac, when dry, buff on a piece of cloth laid flat on
the bench or clipboard; microfiber cloth works well, nothing that would snag the bridge.
 35-1

Ch. 35 - Strings and Chinrest

Strings

There are many, many different choices when it comes to strings and each one has
its own characteristic sound. But even with this, the strings don’t always react the same
way on different instruments. The violin maker should have at their disposal, many options
of strings to choose from. As described earlier, if you want to use fine tuners, then you can
use steel strings. Synthetic core strings can also use fine tuners but they are not needed.
Gut core strings, especially the highest quality ones, can really bring out the subtleties in
overtones and truly make a good violin sound even better. However, they have their issues.
They take a long time to break in and during the summer time when it is humid, they can
be hard to make sound good; they tend to be a little like rubber bands. Gut strings tend to
do better also if the neck angle is a little high, as they have less tension than other types of
strings.

The best thing to do is to pick a brand that you will use as your base to guide you.
After listening to how the instrument sounds with those strings, you might find it necessary
to change in a different direction. Try not to mix brands/models of strings unless absolutely
necessary for sound quality, as the location of the fifth's, when fingered, might be off as
compared to the same model strings which are designed to work together.

Don’t forget to protect the top of the violin from the tailpiece, by placing something
under it. I like to use a piece of leather.

When installing the strings, I like to start with the G string because the string hole
will be covered by the other strings and thus is more difficult to
do later. Then install the E string and prop up the bridge under
those two strings. Then install the D and A in that order. Install
the string with about ¼” of the string pushed through the other
side of the peg, and then wrap the string on the peg one wrap
towards the small end of the peg. Change direction and wrap the
remaining string toward the peg head wrapping over the top of
the first wind. This will ‘lock’ the string into place. Each
subsequent winding should lie next to the one proceeding it and
not wound any which way. Continue the wrap toward the peg
head. You should not have a lump of windings one on top of
another, as this could bind in the bottom of the pegbox and
cause the pegs to get stuck, wear, and break the string. After
the string is wrapped on the peg, if the string is up against the
peg box wall, pull the peg out slightly compressing the string
wraps together and then reinsert the peg. The last wrap should
not touch the peg box wall. (Fig. 35.1) The pegs should always
be turned away from yourself based on looking at the peg as in
the picture to the left.
Figure 35.1
The strings should be tuned up evenly, until they are all
approximately fully tuned. That is, all four strings, should be adjusted at the same time,
 35-2

roughly to the same pitch below the final pitch, rather than one, then the next and so on.
This will keep the bridge from twisting. As you tighten the strings, you should frequently
check the bridge to see if it is still standing up properly, as it will tend to want to pull toward
the fingerboard. Readjust as necessary by pushing the bridge back at the top by firmly
holding it from both sides with the thumbs on the front and 1st two fingers on the back.
Also, check to make sure that the bridge has not slipped sideways towards the G or E side.
It is easier to tap it back in place before it is brought all the way up to pitch. Small
adjustments side to side are easier to make by jolting it, rather than trying to push it over.
I like using a small hammer to tap the side of the bridge.

The E should be the last to tune up and the first down since it is affected more easily
by changes in tension. The tailgut and strings will stretch, more so with gut core strings
than synthetic ones. Be sure to once again check the bridge position (Mensur
measurement). It may be necessary to re-tune frequently during the first few days. Again,
be sure to check the bridge for proper placement.

You may find that the position of the peg head makes it hard to grab and tune while
holding the violin upright. The location of the flat of the peg head can be relocated by
pushing a little more string through the hole. As each person uses a different procedure for
tuning and the ergonomics for that person is different, there is no way to say how to
position the peg head. What is best is what works best for the player of that instrument.

Chinrest

Chinrests (Fig. 35.2) come in all of the three standard kinds of wood; Ebony,
Rosewood, and Boxwood, and should, if possible, match the rest of the fittings. As there are
over 25 different
models available, you
can almost count on
the one that you pick
to not be the one the
player might like. The
most common models
are the Kaufman,
Guarneri, Stradivari,
and Flesch. They can
Figure 35.2 be purchased with
Chrome, Gold plated and even with some high tech lightweight fittings. Some chinrests are
available with hypoallergenic hardware, as well as with individual legs.

No matter what you choose, protecting the varnish on a new instrument is

important. Before installing, you should take a grease pencil and apply it to the cork and
leather on the chinrest and clamping hardware. This will help to keep the impression of the
 35-3

chinrest from going into the varnish and sticking. You would hate to remove the chinrest
and have a chunk of varnish on your new instrument come off.

You should also make sure that the chinrest doesn't come into contact with the
tailpiece. Even if it doesn't buzz, the pressure put on the tailpiece when tightening up the
chinrest can put enough extra downward pressure on the instrument to damage it or break
strings. If it does hit, first check to see if the saddle is too high, check the measurements.
It is usually possible to remove a little wood from the underside of the chinrest to give
enough clearance. On highly arched instruments where a high saddle is needed, it may be
necessary to use a side mounted chinrest or add some additional wood or cork to the
bottom of the chinrest to make enough height to clear the tailpiece. The Hill style tailpieces
with the peak line down the middle are actually slightly taller; so keep this in mind when
choosing your chinrest and hardware.

Most chinrests are tightened with a chinrest key which is a short, bent piece of
hardened steel, inserted in a small hole in a turnbuckle in the metal hardware. A small
throw away version of the key comes with most new chinrests. A few brands use a small
screw rather than the turnbuckle type hardware and they typically come with a small
screwdriver.
 36-1

PART II - REPAIRS
Repairing violins or bows is not that easily described in writing as each repair is
unique. You have already learned the basics for many repairs; gluing edges, using different
types of clamps, fitting bridges and soundposts, setting necks, planing and gluing
fingerboards, fitting pegs, nuts, saddles and tailguts. I find that instrument makers make
the best repairmen, since they have been taught all of the basics that so many repairs rely
on. Those that just try to learn repairs have a more difficult time since they don’t get a good
base of standard woodworking skills so necessary to violin work. A few things are repair
specific, like crack repairs which are one of the things that are done frequently, but each
one of those is different and has to be looked at individually to find what works best for that
crack. Bow repairs and rehairing are also frequent items that need attention.

There are several very good books on repairs, specifically “The Violin Restoration
Manual" by Hans Weisshaar and Margaret Shipman and for bows “Bow Restoration and
Repair" by Joseph Regh, but they are each between $300-500. Also, a repair book called
“The Conservation, Restoration, and Repair of Stringed Instruments and Their Bows” is
available which costs over $1500. I haven't read it but I know many of the people that
contributed articles to it. I will try to explain some of the more common instrument and bow
repairs and a few of the more in-depth ones.

A big mistake that I see when someone starts in on a repair is to not look over
everything before starting. There is no point in cutting a new bridge if the fingerboard is
warped or loose, or if the neck needs to be raised. Why glue an edge if there is an open
crack requiring the top to be removed? A customer also HATES it when you call them up or
even worse, when you deliver the instrument with a much higher cost than estimated. Don’t
rehair a bow before installing a new grip or replacing the eyelet if it is needed. Check over
the violin or bow first, make a complete list of what work is needed and make a plan, and
don’t start on the repair unless you have the materials to complete the job.

New tools only mentioned in the repair section will be in bold but will be described in
this section and not in the appendix.

BOW REPAIRS
Ch. 36 - Rehairing a Bow
Rehairing a bow is not a simple procedure and certainly not for the once in a while
rehairer. I said the contrary above, but the skills that you have learned making a violin will
not help much here. Many bows need to be rehaired before the skill is obtained. Practice on
many cheap bows before you try doing a nice one or before charging someone to do it.

Bows need frequent rehairing, I generally recommend twice a year, specifically

during weather changes. Issues that can arise when you don't rehair a bow regularly; the
bow head can break if the hair shrinks too quickly during a weather change, the stick can
wear at the thumb position if the hair has stretched, broken hairs on one side can cause a
bow to warp and the repair to fix it can cause permanent damage.
 36-2

TOOLS NEEDED:

Bow Rehair Jig – ($70) The frog end of the device consists of half that is rigid to the jig
and another half that tightens up to it with a
bolt and a couple of guideposts. The tip end is
a block with a recess in it to receive the bow's
head. This end is attached by means of a bolt
and sets in a slot for adjustment for different
length bows. The whole thing can be screwed
down to the bench, if you have a dedicated Figure 36.1
space, or simply clamped down. It can also
be purchased readymade as the one pictured above. (Fig. 36.1)

Hair Gauge - Available from most violin supply houses. (Fig. 36.2) One can be made easily
by just filing a slot in a piece of metal or plastic. A
different style is described in the text below.

Very fine Awl - I like one made from an upholstery

needle (size 36/10) inserted into a pin vise.
Figure 36.2
Plug Pusher – This can be made by screwing a large,
smooth shank wood screw into a handle and then cutting off the head. The sides of the end
of the screw can be filed into a square shape about 3/16” wide. I prefer a square end, but a
round one will do in a pinch.

1/8” or 3/16” Chisel

Slip Joint Pliers ($20) with added Leather Jaws or these Nylon soft jaw ones from Garrett
Wade tools or even cheaper at MSC Direct (Fig. 36.3)

Diagonal Wire Cutters

Flat Nosed Pliers w/ no teeth– A cutoff pair of

needle nose works. File off teeth if needed. ($20) Figure 36.3

Wedge Pusher – Some type of tool that has a flat edge and that can fit between the hair
and the stick, next to the ferrule, to push in the spread-wedge. Mine is a half-circle metal
bar. Make sure that none of the edges are too sharp, as that would cut the hair.

Fine Toothed Comb (ex. Metal Dog Grooming Comb – flea combs are usually too fine as
horse hair is thick) Violin houses also sell rehairing combs.

Alcohol Lamp - ($10) I prefer a metal one, in case it drops, but they are very hard to find.
One can be made from the old-style oil can and the wick can be just cut from a mop head.
Just be sure that the oil can is of the solid stem style, not the bendable stem style. The
stem is cut off at the point where the wick will be snug, but not too tight to pull out, as it
burns down. Some type of cover should be made to snuff out the flame and to keep the
alcohol from evaporating; a closed end metal tube is ideal.

Toothbrush

Phillips and Straight Screwdrivers – for plastic bows that use screws to hold in the hair.
 36-3

These are already listed in Appendix 1:

1/2" or 3/4" Chisel

Fine Tooth Saw

MATERIALS NEEDED:

Bow Hair (min. 31" for 4/4 bows) Hair gets considerably cheaper as it gets shorter, so if
you will be rehairing a lot of bows and a good number will be fractional, you may want to
consider buying two lengths, one for 4/4 and another for fractional.

Wedge Material (Basswood) 1/8” thick x 3/4” wide for violin, viola and cello bows –
available at Micro-Mark.

Plug Material (Soft un-figured Maple, Cherry or Mahogany) Woodcraft or another general
hardwood dealer.

Krazy Glue in a hard-sided dispenser, don't get the version in a toothpaste style tube.

Steel Hobby Wire (30ga.) - ($5) [Link] sells the correct stuff – .0140 (30Ga) x ¼
lb. Spool Black Soft Temper Carbon Steel Wire – bigger spools are also available. The wire
at hobby stores that's used for beadwork will not work as it doesn't hold its shape as well.
Many people use a very strong thread instead of wire, I was taught to use wire and as of
yet I have not heard of any valid reason not to. It's certainly easier to use and a

Carpenter’s Yellow Glue, white glue or Elmer's school gel glue.

Powdered Rosin – solid rosin broken up and made into powder.

Parts of the Bow (Fig. 36.4)

Getting Started

The Workspace
 36-4

You need to set up a space to work. (Fig. 36.5) This can be a dedicated workspace if
you have the room and if you will be
doing a lot of rehairs, or it can be
set up on your general workbench.
Rehairing is difficult to do sitting
down, so plan accordingly. If you will
be using the bench, the rehair jig
can be clamped onto the bench vise
for stability. Then just store all of
the rehairing tools together in a box
Figure 36.5
until needed.

Removing the Tip Plug and Hair

Unscrew the bow screw from the frog, lift the frog off the stick and flip the hair
around the tip so that you have access to the
plug. Carefully pry up the old plug from the
back-side of the mortise. (Fig. 36.6) This
may be done with your small chisel or fine
sharp awl. If the plug does not want to come
out easily, you may have to remove it one
sliver at a time. Be very careful not to
damage the mortise. Occasionally the
previous technician will have glued in the
plugs, in which case you should be careful not
to damage the tip or mortise while removing
the dried glue and plug.

Taking apart the frog

Figure 36.6
Some people prefer to hold the bow with
the frog attached in their hand and others like it to be secured in the rehair jig. I almost
always remove the ferrule and the plugs with the bow stick held under my left arm while I
work on whichever end I am dealing with. That leaves both hands free. I feel it gives more
control and you'll have a better feel for how much force you are using.

Carefully remove the ferrule. First try with just your fingers but if that doesn’t work,

Figure 36.7 Figure 36.8

 36-5

use the ferrule-removing pliers. (Fig. 36.7 and 36.8) I have also used a converted 6" slip
joint pliers from which I have removed most of the teeth and glued thick leather pads to
this surface, so that it doesn’t scratch the ferrule. After you grasp the ferrule with the
pliers, pull back. If you need to, 'walk' or ‘rock’ it off the frog's tongue by gently wobbling it
back-and-forth until it can be easily removed. However, only gentle pressure with the pliers
should be used. If the ferrule will not come off with gently pressure, you will then have to
carefully cut away the ferrule spread wedge with a small chisel, Xacto knife or pick away
with an thin awl.

Do not force the ferrule too much, as you may permanently damage the tongue of
the frog or the ferrule. Sideways movement with the pliers can cause damage to the fine
points on the frog’s tongue under the ferrule, so be gentle. The pliers can also be tapped
lightly with a hammer while gripping the ferrule. On older silver mounted frogs, be extra
careful of the ferrule, as it will be thinner from wear. Any squeezing force could easily bend
the metal or even break the soldered seam.

On Glasser brand fiberglass bows, (Fig. 36.9) using the narrow chisel's point or a
sharpened small flat head screwdriver, pry
up the back end of the slide slightly and pull
it free from the back of the ferrule with the
flat nosed pliers. This will free up space and
tension under the ferrule, making pulling it
off easier and less likely to crack the frog's
tongue. The Glasser parts are available, if
you need to buy a new frog or other part. Figure 36.9

Once the ferrule is free, if it hasn’t already been removed, remove the spread
wedge, by lifting the remaining hair slightly
and carefully lifting up the wedge or
trimming the wedge material away with a
knife or chisel. The thin wedge is often glued
when installed, so be very careful to avoid
removing any of the frog material.

Remove the pearl slide (Fig. 36.10)

by sliding it off with thumb pressure alone,
you may need to use the sharp flat edge of a
thin chisel, by carefully wedging it between
the back edge of the pearl slide and the end
of the slide channel. You are then usually
Figure 36.10
able to get your thumbnail in the gap to work
the pearl slide out. If the pearl slide still refuses to slide out, then warm the frog/slide a bit
with an alcohol lamp being careful not to overdo it and burn the frog. DO NOT do this to a
Glasser or another plastic slide. The heat warms up any rosin that may have gotten in
between the slide and the area where the slide touches. While still warm, slide it out, but be
careful as it can get very hot. Another way to loosen the slide is to use a little Xylene, which
will soften any resin that has worked it's way in.
 36-6

Remove the frog plug, (Fig. 36.11) as with the tip plug, by lifting up the hair and
carefully prying the leading edge of the plug out with the chisel or awl. If the plug does not
come up easily, you may have to remove the
plug in pieces, without damaging the frog in
the process. I've had some plugs that were so
tough I needed to drill out the wood. On
some frogs, like the Glasser ones, the hair is
held in place with a screw, remove the screw.

Checking Over the Bow

There are many parts on the bow (Fig.

36.12) that might need attention besides
just needing new hair. This needs to be
corrected before you can rehair the bow.
These are some of the common repairs:
Figure 36.11

Cleaning the stick

Re-cambering or straightening the shaft of the bow stick
Adjusting the shape of poorly shaped mortises in the frog or tip
Replacement of a broken or missing bow tip
Repairing a broken stick, head crack, shaft crack, end crack by bow screw
Repairing the bow grip or thumb leather
Repairing the eyelet mortise on the stick that is too wide and the frog wobbles
Repairing a damaged frog, the sides cracked where the slide travels
Repairing or replacing a slide
Replacing a brass eyelet – is it stripped or showing wear?
Replacing the bow screw
Replacing a pearl eye

Clean the stick and parts, use a varnish cleaner like Xylene, do not use alcohol as it
can damage the stick's finish if it has one. Then do any repairs to the bow as necessary
before rehairing it.

Rehairing the Bow

Place the stick in the rehair jig with the frog attached and turn the bow screw 2-3

Figure 36.12
 36-7

turns after it catches the eyelet threads. Make sure that the assembled frog slides back and
forth on the stick smoothly and easily. There should be a minimum of side-to-side wobble,
which would indicate a badly worn eyelet mortise, eyelet not tight enough in the frog, badly
worn bow shaft, or possibly an indication that the frog was not made for the bow. Try to
determine which and adjust as needed. If the frog is too tight on the shaft, loosen the
eyelet ½ turn. Clean the tip and frog mortises of any old wood plug material, rosin and hair.

Cut the tip and frog plugs carefully. (Fig. 36.13) The plugs must fit exactly on the
sides with just a small gap of ½-1mm where
the hair comes around the plug. If the plugs
are made too wide, you run the risk of
splitting out the side of the frog or head of
the bow when pushed in; if they are under-
sized, the hair will slip around the sides of
the plug or the plug will simply pull out under
the tension of the hair. Be extra careful of
your fingers as well, since you will be
chiseling very small parts close to them. I
say this from unfortunate experience.

The sides of the tip plug are angled a

Figure 36.13
fair amount as the tip mortise follows the
angled shape of the bow head. The frog plug's sides are only very slightly angled so that the
plug gets tighter as it is pushed in. The plug may need to be adjusted slightly during the
rehair procedure. (It's best to make the plug slightly too big to begin with and adjust it
smaller as needed, than to make it too small where it won't work). The spread wedge will
be made after the hair is in the bow so that the correct thickness can be obtained.

The ends on the plugs may not have the exact same angle; make them fit the shape
of the holes. It may be necessary, especially on cheaper bows
(Fig. 36.14) to reshape the mortise holes with the chisel. These
angles are very critical so that when the hair is being pulled the
plug tightens the hair in the mortise rather than letting it slip
around the plug.

Make sure the pearl slide and the ferrule fit properly and
repair or replace if necessary. Sometimes it will be necessary to
lightly file the edge of the slide or the slide mortise in the frog.
These edges can get rosin and other build up on them and the
frog can shrink over time making it too tight of a fit.

The Hair

Hair can be purchased by the individual hank or in bulk. If

Figure 36.14
you are going to be rehairing at least 50 bows in a year, I
recommend that you purchase your bow hair in bulk. I do not care for hair that comes in
the single hank coil form as they are rarely the correct size (number of hairs per hank), and
 36-8

the price/per is usually very high. If you ever do use a single coil, be advised that the ends
are only temporarily sealed with sealing wax and loose thread, and must be re-wrapped.
Typically, you can get 80-100 bows out of a bulk 1-pound bundle and, as such, it comes out
to less than half the single hank price. Hair for 4/4 violin bows needs to be a minimum of
31”. When using a bulk bundle, tightly tie off the bundle (I tie off the whiter end) with a
hose clamp and then hang it up with a wire at a convenient spot near your rehairing station.
I also soak the top in white glue and then put sawdust in the glue. This holds the end very
securely. You don't want the entire clump of hair ending up in a tangled mess on the floor.

Use the hair gauge to pick the amount of hair you require. Different qualities of hair
are different thicknesses and as such you will use less numbers of hair strands with thicker
hair. I never count them, but I've heard that a 4/4 Violin bow will require approximately
120-150 hairs, Viola bows around 150-175 hairs, Cello bows approximately 200 hairs, and
Bass bows around 225-300 hairs, as there is a wide variation among Bass bows.

If you purchase the Herdim hair gauge, it has a graduated scale. The standard
procedure is to measure the width of the ferrule opening using the scale on the gauge. The
gauge slot is 1mm wide; the basic thickness of the hair across the ferrule. Fill the gauge
with hair up to the line that equals the width of the ferrule opening. This will be the amount
of hair needed, no matter the thickness or number of hairs it includes.

If you make your own hair gauge, use a #33 drill for the violin slot, #30 or 31 drill
bit for the Viola slot, #28 or 27 drill bit for the
Cello, and a #26-24 drill for the Bass bow. (Fig.
36.15) These holes are drilled close to the edge of
a thin piece of metal or stiff plastic and then file an
access groove into that hole. The hair should fill
the round hole. The actual amount of hair needed
Figure 36.15 will be learned when looking at the mortises and
assessing the strength of the stick. Stiffer bows will
require a little more hair. The amount of hair that will be used will depend upon the specific
instrument bow type and size you will be rehairing. Look at the plug mortises and make
sure there is enough room for the hair as you will find that the sizes of the mortises will
vary from one bow to another.

Proceed by trimming off the desired amount of hair as close to the top of the hair

Figure 36.16 Figure 36.17

 36-9

bundle as is possible using the diagonal cutters. Remove from this hank any hairs that are
kinked, severely discolored, or too short and discard them. Once the hank is separated
from the bundle and sorted, secure the hank with a short length of the hobby wire. (Fig.
36.16, and 36.17) Start about ½” from the end and tightly wrap it about 6-8 times, then
twist the two ends together.

NOTE: As mentioned previously, I prefer wire, while many people like to use a strong
thread. I find that the wire allows for a flatter bulb and as such it lies flatter and lower in the
mortise allowing for a deeper wood plug. Some bow heads are shallow and with the thread
method, the plug needs to be notched to give it enough depth. The wire also ensures that
the hair comes out of the mortise already square and flat like the back of the mortise rather
than round since the thread keeps the hair bundle round. The hair is also much less likely to
come loose from its wrapping and it is also just simply faster to do. I have seen hair pull
loose frequently, even on professionally rehaired bows, when using thread and never when
using the wire, with my method. The wire mentioned in the materials list is ideal. Thicker
wire is available but is not ideal and doesn't hold as well.

NOTE: The end of the hair that is noticeably darker than the other should be placed at the
tip of the bow. The reason for this is that the darker end is where the horse has urinated on
the hair. It has become somewhat weaker and thus it is placed at the tip where less bow
pressure is used. This is another reason that a longer hank is better as more of this end of
the hair will be discarded. Stallion hair is stronger as it is not urinated on and, thus,
demands higher prices.

After wrapping the wire and twisting the ends together, (Fig. 36.18 and 36.19)
pinch down
the wrapping
with the flat
nosed pliers
and bend over
the twisted
end of the
wire. Trim the
twisted wire to
the width of
Figure 36.18 the hank Figure 36.19
using the diagonal cutters.

Trim off any extra hair to within ½-1mm of the wrap using a chisel, knife or the
diagonal pliers. Using Krazy glue, place a drop or two on the end of the hair locking it in
place. This will insure that the hairs are sufficiently bound together and will never be able to
pull out of the tie-off. Allow time for the Krazy glue to dry. You can also dip the wet end
into powdered rosin or baking soda. The baking soda will instantly harden the Krazy glue.

The entire wrapping (wire plus hair) should be able to fit comfortably into the
mortise with room for a good size plug. The number of wraps can be adjusted for shorter or
longer mortises, but there should be at least 5 wraps of the wire. Re-cut the mortise if
 36-10

necessary. On especially small size bows or ones with very narrow mortises where it is not
possible or practical to resize, I have skipped the flattening of the wire and only wrapped it
exceptionally tight and used the Krazy glue.

Installing the Hair in the Frog Mortise

Some repairmen rehair tip first while I do it frog first. I was taught frog first, so that
is why I do it that way. When doing it tip first, the frog will have to be mounted in a jig
when putting in the hair. This is because you would not have access to the mortise if the
frog was on the stick as the hair would be in the way. When doing it frog first it is a simple
matter of flipping the hair over the end of the bench with the frog attached and hanging
down. The way the hair comes from the supplier, the dark end is loose and often contains
mixed in shorter hairs. The hair is thinner at the dark end, so it is considered the tip end as
the hair ribbon will be slightly narrower at the tip than at the ferrule.

Pre-shape your frog plug so that it will fit perfectly into its mortise. (Fig.36.20)

Figure 36.20 Figure 36.21

There should be only a ½-1mm gap where the hair
comes around the plug. With the plug pusher,
carefully push the wrapped and pinched hair into the
mortise so that the flat side is down. (Fig. 36.21) I
prefer to put the bent-over twisted wire at the bottom
of the mortise, but there is no particular reason that
this is necessary. Secure the hair into the mortise with
the plug by using the same plug pusher. (Fig. 36.22)

When pressed in fully, the top surface of the

plug should be level with the adjacent edges of the
frog mortise (Fig. 36.23) so that the hair will not be Figure 36.22
too high, causing it to come in
contact with the bottom of the
slide. Pull the hair towards you
with a little tension to check the
plug as you lay the hair flat down
into its channel.

Carefully place the slide

Figure 36.23
 36-11

over the hair and slip it into place. Be sure that you have tested the fit before rehairing the
bow in case you need to do any alterations to the width of the slide. A little graphite on the
inside rails can help make the slide glide more easily.

Combing Out the Hair and Tying Off the Tip End

Wet the hair with a toothbrush, using clean water. Do not let the frog plug get wet.
(Some people find that they do not need to wet the hair depending on the quality of the hair
that is used or their skills). The reason that the hair is wet is to allow for any hairs that are
going to shrink to do so now. Allow the hair to completely dry before proceeding.

The frog should be on the bow stick and in the jig. The frog should be pushed
completely forward (towards the tip) in the mortise before securing it in the rehairing jig.
Adjust the frog's position slightly back on the stick, by making 1-2 complete turns of the
screw, this will ensure that you don't make the hair too tight.

Comb out the hair and tie it off as you did the other end. (Fig. 36.24 and 36.25)
Leave the comb
in the hair, you
should have the
tie off slightly
closer to the
mortise than
needed.

Figure 36.24 Figure 36.25

Before you pinch it down, using your fingers

or the flat nosed pliers,
slide the wire wrap away
from the frog until the
space between the wrap
and the mortise edge
“X” equals the distance
that the hair needs to
drop into the mortise as
in Fig. 36.26.
Figure 36.26

Once this space is set, comb out the hair again leaving the
comb in the hair. Pinch down the wrap so that the flats of the
pinched wrap are parallel to the flat "hair ribbon". (Fig. 36.27)
Trim off the excess hair and place a small drop or two of Krazy
glue on the end as before. Be sure that the Krazy glue dries
before you put it into the mortise.
Figure 36.27
 36-12

NOTE: When rehairing bows in cold/dry weather, it is very important to add a little extra
hair length (X) to prevent shrinking and making the bow hair too short. This is something
that you will have to figure out for your area, as it differs by region. You can also just add a
few turns to the bow screw bringing the frog further back in the mortise before starting.

Inserting the Hair into the Tip

Place the end of the hank of hair through the ferrule, so that the correct side of the
ferrule ends up against the frog. (The outside corners
of the ferrule, those facing away from the frog, are
usually slightly rounded Fig. 36.28). Slide the ferrule
onto the tongue of the frog.

Loosen the frog from

the bow, still leaving the
bow stick secured in the jig,
and carefully maneuver the
Figure 36.28
hair so that it is in the
correct orientation to insert
into the tip of the bow (it
will need to be flipped
180°). As with the frog
plug, insert the wrapped
hank into the bow tip
mortise (Fig. 36.29) with Figure 36.29
the wrapping lying flat on the
bottom of the mortise. Push the tip plug into the head
(Fig. 36.30) of the bow so that it lies flush with the
surface of the bowhead. Reinsert the frog onto the bow

Figure 36.30 stick making sure that there is no twist in the hair. Too
much pressure, especially if the plug is poorly fit, can
cause a crack in the head of the stick, this damage can severely devalue a bow.

Fitting and Inserting the Spread Wedge

Shape your spread wedge (Fig.

36.31) so that it fits snugly into place. The
wedge is wider at the top of the ferrule
where it hits the hair and narrower where it
hits the tongue following the curve of the
sides of the ferrule. Figure 36.31

As the spread wedge is made from a softer material like Basswood or Mahogany, it
 36-13

may be affected by the humidity level and shrink during the winter. To prevent it from
coming loose, you can compress the wood in a vise before you fit it to the bow.

First cut an angle in the wood forming a wedge. (Fig. 36.32)

Next, trim the sides at an angle going

towards a blunt
point and, at the
same time,
replicate the
angles of the sides
of the inside edge
of the ferrule as it
Figure 36.32 curves inward.
(Fig. 36.33)

On the top of the wedge, trim a small back angle to

make it easier to insert Figure 36.33
the wedge. (Fig. 36.34) The wedge will fill the entire space
snugly and should be wider than the space.

I use a long length of Basswood to make my spread

wedge, so
that it is
easier to
hold while
carving and
Figure 36.34 test fitting
into the frog.
I fit it after the hair is in the bow and push it
in above the hair to test. (Fig. 36.35)
Figure 36.35
When it is the correct length and fit,
there will be a clear line left by the ferrule’s edge on
the top and two nicks on the sides. (Fig. 36.36)

If you saw off the wedge about 1-2mm proud

(a little long) of the line, your wedge will be the
correct length. (Fig. 36.37) When fitting, if the dent
marks on the side are more visible than the top ones,
the wedge is too wide and not pushed in far enough.
Likewise, if the top dent is visible and the side ones
are not, the wedge is too thick and still not in
enough. The marks should be the same visibility
when fit properly.
Figure 36.36
 36-14

Tighten up the frog a couple of turns to put a little tension on the hair. Comb out the
hair several times and spread the hair evenly
to about 1 ½” wide around 6” or more from
the frog. You can place the comb back in
upside down with its spine against the stick to
hold the hair at this place. You can also use a
lady’s hair clip to hold the hair in place.

Place a small dab of gel glue or liquid

Figure 36.37

hide glue (the only acceptable uses for these

glues in violin work) on the flat side of the
wedge that faces the hair. Press firmly into
place using the flat edge of the pressing tool so
that the hair is spread into an even ribbon
between the flat side of the ferrule and the
ferrule wedge to the full width of the ferrule.
(Fig. 36.38) Be careful not to let any hairs slip
around the sides of the wedge; the wedge and
Figure 36.38 hair should fill the entire cavity between the
ferrule and the frog tongue. Since the wedge is
made of Basswood, any extra width will flake off easily as you push it into place.

Tap the wedge home the last 1mm with the edge of your large chisel placed bottom
side against the hair. (Make sure that you have checked that the edges of the chisel aren’t
sharp.) The wood will give and the extra length will go into the frog.

This wedge should not be so tight that it puts a strain on the seams of the ferrule. I
have seen numerous fine silver ferrules damaged from a too tight spread wedge. If your
plugs are properly made and inserted, the role of the spread wedge is to hold the hair at its
full width, not to hold the hair from pulling out of the frog, as that is the job of the plug.

Making Final Adjustments

You can use a hot air gun or alcohol lamp to tighten up any loose hairs. You shrink
these loose hairs by moving the heat slowly, but not too slowly, past the hair until they
draw up evenly with the rest of the hairs. Be very careful not to overheat the hairs as this
will make them very brittle, causing them to break easily or simply burn. Don't hold the hair
too close to the heat. Do this slowly until you are comfortable with this step and how far
away the heat is held. On some really cheap, especially Chinese bows, they use a lacquer
finish which is effected easily with heat and the finish will bubble easily.

Remove any hairs which are exceptionally long or have broken off. Never pull the
hairs out, as this could loosen the bundle inside the frog and tip, if they aren't secured well.
 36-15

Instead, snip the hairs off at either end.

Inspect Everything

The hair needs to be secure in the frog and tip.

The hair should be at full width at the tip and ferrule.

None of the hairs should have slipped around the sides of the ferrule wedge.

When you loosen the hair fully, the hair should just begin to sag towards the stick. It should
not be so loose that it falls around the sides of the stick, nor should it be so tight that you
cannot fully remove the tension on the bow. If the hair is a little bit too loose, wet the hair
and let it sit to shrink. If it is winter, don’t worry as it will correct itself.

Tighten the hair; it should "rise" away from the stick to form an even flat ribbon. If the
ribbon doesn't come up to tension all at the same time, then your hair is uneven. There
should be equal tension on all the hairs across the ribbon of hair. This can be determined by
bringing the bow up to tension and drawing your thumbnail across the ribbon, checking for
an even resistance across the hair.

Check that the hair is not loose in the ferrule and moving side to side. Check this by
grasping the hair in front of the ferrule and trying to move it back-and-forth in the ferrule. If
it moves, the wedge is not tight enough, make a new one.

Check the slide to make sure that it is not bulging in the center; this is evidence that the
plug may have pulled out or that the hair is not deep enough in the mortise.

Make sure that the screw is turning smoothly and that the frog moves forward and
backward on the stick and that the frog does not wobble side to side on the shaft. When
adjusted correctly, there should not be any side-to-side wobble of the frog on a well-made
bow.

Rosin the Bow

Grind up a piece of standard cake rosin into a powder. Work the rosin into the hair and then
finish off with a regular cake of rosin. The powder is easily applied with a toothbrush,
although I use a large bottle cork with a piece of felt glued on. When finished, wipe any dust
from the stick.
 37-1

Ch. 37 - Bow Screw Eyelets

The eyelet (Fig. 37.1) is made from brass or sometimes from bronze. These metals are
softer than the steel that the bow screw is made
from and thus will wear first. This is important
since the bow screw is often pinned into the bow
screw button and very difficult to remove. The
eyelet is not made from steel because, if
corroded or rusted, the bow screw could freeze
Figure 37.1 in the eyelet’s threads. Removing the bow screw
could become difficult if not impossible without
breaking the frog or stick. There was a time where steel was used, in the early 1900's
during the war. These bows always have issues with the screw freezing in the eyelet and it
is a good thing that this was only done with cheap grade bows.

The eyelet needs to fit into the mortise both in width and height allowing the frog to
sit properly on the bow shaft. There needs to be a small space below the eyelet so that it
clears the bottom of the mortise. There should also be an almost invisible amount of space
on its sides so that it doesn’t rub the mortise walls, but keeps the frog from wobbling.

There are a number of different diameter and thread size eyelets for different bow
screw thread sizes and they are sold in mm
sizes. They can be purchased individually or in
sets. (Fig. 37.2) The shaft of the eyelet, also
threaded, comes in a number of thread sizes
allowing a larger size to be inserted in a hole
that has stripped.

The eyelet needs to be in the center of

the channel in the frog and the screw must run
parallel to the sides of the channel so that the
eyelet tracks evenly in the channel and the
frog tracks smoothly along the stick. Figure 37.2

If the bow screw wobbles in the eyelet, it is time to replace it. Take the small pliers
and grab the top edge of the eyelet and rotate it counter clockwise. Try to remember the
number of turns required to remove it as this will give you a good starting point when the
replacement is threaded in. Some repairmen have used the bow screw itself to unscrew the
eyelet and because of this I have seen countless linings (the metal lining that is on the
bottom of most frogs) damaged. Get a replacement eyelet of the same size; it is best to
have a collection of available sizes in stock. A thread gauge can be purchased to match up
the thread pitch and diameter, but it is often easier just to try several to find the best fit. I
highly recommend buying the eyelet collection since there is no standard.

Try the eyelet in the mortise to see if it will fit. It is often necessary to file the sides
and bottom of the eyelet to make it fit. With the eyelet in the channel, thread the bow screw
into it to grab the threads of the eyelet. (Fig 37.3) Turn the screw and make sure that the
eyelet travels down the entire length of the mortise without binding.
 37-2

While the eyelet is off, go ahead and clean the lining. Try threading the new eyelet in
by hand so that the threads don’t get
crossed. The eyelet should not be too
hard to thread in. This could cause it to
snap off when forced, as it is made from
soft brass. If the replacement eyelet has
a bigger diameter shaft than the original,
it may be necessary to drill the hole
bigger and add some threads. Some
Figure 37.3 violin houses sell taps for this purpose,
but they can also be ordered online
through places like MSC.

When the eyelet is threaded into the frog, insert the bow screw into the eyelet to
check to see that the bow screw is lined up down the center of the frog and parallel to it by
looking at it from the bottom and side of the frog. Try the frog on the stick and see if the
bow screw engages the eyelet. Next make sure that the eyelet is inserted to the correct
depth and adjust it as necessary until the frog is as tight as possible on the shaft, but still
travels smoothly the entire length. If it is tighter on one end of the mortise than the other,
either the eyelet is bent or the hole in the bow shaft is crooked. If the eyelet is slightly bent,
test by inserting the bow screw in the eyelet without the bow stick and then looking to see if
the bow screw is parallel to the lining. If the bow screw is bent, it can be bent the other way
a little bit with pliers. This needs to be done only when the eyelet is screwed into the frog at
the correct depth, or you might just be bending it in the wrong direction.

Sometimes on old bows, the shaft of the stick is worn where the fingers have rubbed
against the wood. This may make the frog not sit properly on the bow shaft and thus the
stick will need to be repaired to correct the issue.

When everything is sitting correctly, take a pencil and add a little graphite to the bow
stick where the frog glides, this will lubricate it to slide easier. Put a little bit of peg soap on
the end of the bow where the bow screw hits the butt end of the stick. If, once rehaired,
the bow is too hard to tighten, the issue could be there is too much camber in the stick or
that the bow screw is bearing on the end nipple too much. Sometimes it is necessary to fill
in a little wood in the hole of the shaft of the stick where the tip of the bow screw hits (or
doesn't hit).

On especially cheap bows where the labor cost to fill and re-drill this spot would be
too high, I have made a repair that I would never do on
a better bow. The wood in these bows is often much
softer and thus wears easily or the bow screw hole was
drilled too deeply into the shaft. To repair this, I have
cut off the head of an appropriately sized finish nail and
placed it into the hole past the mortise (Fig. 37.4) and
pushed it tightly into place. I usually make it about
1mm longer than the flared head and then file the end
of the bow screw until the bow screw’s button almost
Figure 37.4
 37-3

hits the butt end of the shaft. It should clear the end by an almost unperceivable amount.

Occasionally the bow screw will wobble in the end of the stick because the hole in the
shaft is too big. When this happens, it is probably necessary to fill the bow screw hole and
re-drill it. This is a difficult procedure as it requires the hole to be in exactly the correct
place and perfectly parallel to the shaft. Some specialized tools are available for this, like
the Bow Badger, but they are expensive. A lathe is also a useful tool, but, of course, those
are also expensive. The outer shaft where the screw enters the stick is a larger hole than
the one that is further up at the end of the bow screw. A good fit-that isn't tight, is ideal.

A special hollow tool can be made from steel tubing that will fit over a bow screw,
thus using it to center the cutter. If the bow screw is too loose this won't work. Be careful
when drilling the hole that very little pressure is used so that you do not split the bow shaft.

I made my bow lathe with an adjustable center pass-through for the tailstock and a
belt-driven drill chuck for the head stock. I could also hand turn the tail stock if needed. I
do not recommend putting the bow stick in a power-driven lathe or it could be damaged
while spinning, always mount the bow in the non-powered end.

If the hole in the frog is too big for the eyelet, first check to see if an oversize shaft
eyelet will work. They are available and should be kept on hand. The other option is to fill
the hole in the frog and re-drill. The hole should first be drilled bigger. Not doing so will
mean that once you drill the new hole, the small thin edges of the plug will fail. Take an old
violin peg and whittle it down and file it until it fits the newly enlarged hole, glue it in with
carpenter's glue.

When drilling the new hole, be very careful about getting it in the very center of the
frog as measured side to side. Otherwise, the frog will bind
as it travels down the stick and won't fit the bow shaft
properly. Drill it slightly undersize so that you can put the
threads in. I recommend using one size smaller drill, using
the number drill sizes, not fractional. I think it is very
important to use a drill press for this operation, as any tilt
in any direction can cause an issue with the proper function
of the eyelet and bow screw.

Most eyelets come in just a few sizes. You should

get taps of the same sizes for threading the hole in the
frog. Old bows sometimes use different threads than those
in the currently made standard eyelets. Blank, unthreaded
eyelets are also available. It is a good idea to have many
sizes available for different repairs. While most modern
bows use metric thread sizes, having some SAE sizes are
useful as well. (Fig. 37.5) A tap handle is used to hold the Figure 37.5
tap.
 38-1

Ch. 38 - Slide
The slide (Fig. 38.1) on most bows is made of two parts, the bottom part (the
underlay) is Ebony and the top is pearl. Over
time, the pearl can wear because of the acidity
in skin oil. Sometimes just the pearl can be
replaced, but often times the slide
underlayment will also need to be replaced
after many, many years of rehairing.

You will note from the exaggerated

angles of the edges in the End View of the slide
Figure 38.1 (Fig. 38.2), that the edges are tapered so that
the slide will stay in the frog
in a similarly angled track. If
the slide is popping out, a
new underlay or new
complete slide must be made
so that this angle is the same Figure 38.2
and the slide stays in place.
Repairing the slide’s mortise in the frog is also a possibility.

When fitting a new slide, it is often necessary to thin the stock size underlay so that
when the pearl is thinned to be flush with the top of the frog, the pearl is not too thin.
Likewise, the underlayment needs to be thick enough so that it protects the easily cracked
pearl. There are many different types of pearl and one should be obtained to closely match
the original. If the frog has pearl eyes
on the sides, usually the types of pearl
will and should match. This is especially
important when working on an older
bow where keeping things as original as
possible matters. The entire thing
starts out as a blank (Fig. 38.3) if you
Figure 38.3 purchase the commercial kinds and
many different ones are available. This
must be thinned to fit the recess in the frog.

First trim the Ebony to the correct thickness. It should be thick enough to
strengthen the pearl, but not so thick as to make the pearl so thin that it will wear too
quickly from skin contact. Next trim down one side of the slide trying to match the angle.
Maintain the same angle on the underlay and pearl. You can lay the side of the slide into
the gap in the frog to get a basic idea, although the angle will be a little high because it will
be tilted. Then file the other side until it fits into the frog at the correct angle but, at the
tongue end of the frog. Since the slide is tapered to a smaller end at the butt of the frog, it
will tighten as it is pushed in further. Continue to file the sides, start with the first side and
recheck the angle, then file the second side until the slide can go all the way in, but is snug.
 38-2

You will probably have to file the back end of the pearl to be square with the heel of
the slide slot. The back end of the Ebony underlay
often sticks out a little on frogs that have a metal heel
plate on the top of the frog. (Fig. 38.4) This small
section of the underlay is sometimes slightly filed at an
angle down so that it clears the heel plate which is
often a different thickness than the pearl. The slide
should fit snugly but not tightly. Using a little graphite
on the edges of the frog slide channel will help with a
smooth operation.

When the slide goes all the way in and is seated

Figure 38.4 against the heel end of the slide mortise, the front end
of the pearl is trimmed down to the end of the slot where the
ferrule starts. The pearl can be sawed with the fine-tooth hobby
saw and then filed to final fit. Use the ferrule to check the fit so
there is no gap (Fig. 38.5) between the ferrule and the pearl and
the ferrule is fully seated against the frog. Keep
the end of the pearl square with the ferrule and
when you think it fits perfectly, file just a hair
more off of the pearl. You want the feel of a gap
between the ferrule and pearl without actually
seeing a gap. This is so that when the ferrule is
set in place and tapped down tight, it doesn’t put
any strain on the pearl. The front end of the Figure 38.5
underlay also may need to be trimmed at an
angle so that it clears into the ferrule. The corners can also be trimmed
at angles. (Fig. 38.6)

Once the slide fits in and the ferrule goes on, the pearl can be
Figure 38.6 thinned down to the height of the frog and ferrule. The best way is to just
lay the slide, pearl side down, on a file and file it until it is just slightly
proud. Use some 220 and 320 sandpaper on a flat surface to finish it up, which will also
polish the pearl.

Many colors of slides are available as they are made from different shells. Find one
that matches the original as best as possible;
the pearl eyes and the slide should match
closely. Most violin supply houses sell both
pearl and lined pearl. A great source for a wide
selection of unlined pearl slide pieces and pearl
frog dots is [Link] (Fig. 38.7). The
more figured and colored the pearl, the more
expensive it will be.

If you make the slide from separate

Figure 38.7
 38-3

pieces, I like to make the underlay the correct thickness but still wider than needed. Then
glue the pearl to it with Krazy glue and fit the slide as above. You really can't fit them
separately and glue them together because the chance of getting them aligned perfectly is
very slim.
 39-1

Ch. 39 - Recamber or Straighten

The camber of a bow is the lengthwise bend/curve. The proper camber for a bow is
that which makes that particular bow play best. There are several ways in which the
camber is inserted. Some bows are made with at least a partial camber in them as they are
carved with an additional lengthwise curve put into the stick to provide the correct tension
on the hair. On many bows the camber is completely bent in.

When a bow is tightened, the space between the hair and stick has to be large
enough to get a proper sound along with enough tension to be able to play both loudly and
quietly. If the space is too small, the stick will hit the string while playing and the sound will
be awful. Usually, this camber is such that the hair is just shy of touching the stick when the
hair is loose. This narrowest point usually occurs between the very center and just slightly
toward the head. There is no way to say the exact spot as it depends on the strength of the
individual bow stick and even sometimes the playing characteristics of the player. Over the
years, a bow can lose some of its camber for a number of reasons. The stick also needs to
be straight side to side as any offset will be exaggerated when the stick is tightened up.

You will need to learn how to sight down the stick using one eye. It is the same
technique used when looking down the fingerboard towards the bridge. Keep in mind that
these two directions, the camber and straightness, need to be correct when the bow is
tightened up for use and not as importantly when the hair is loose (although on a high-
quality bow they will be the same).

Sight down the bow and put your hand where the bend is or where it is too straight.
If you put your thumb on
one side of the stick and two
fingers on the other side,
you will be able to bend the
bow. Sight down this bend
to see if the bow's shape is
corrected. Many times, the
repair can be performed
with the hair attached. Take Figure 39.1
the frog off the stick and let the hair dangle,
being careful not to twist the hair. If the
bends will be done towards the center or frog
end, the hair can be wrapped around the stick
and secured with a rubber band, (Fig 39.1)
otherwise remove the hair from the stick.

The bow is heated in the area that

needs to be bent, and a little further on both
sides. I use an alcohol lamp with a high flame
to warm up the wood. (Fig. 39.2) Some
repairmen use an electric hot plate and hold
the bow above it to warm the stick. This is
Figure 39.2
 39-2

probably easier for the beginner as you have a lot less chance of burning the wood, but it
does take longer. When using the alcohol lamp, move the bow quickly through the flame.
At the end of each pass take the bow out of the flame to prevent the flame being on the
stick twice as long as the rest of the spots and thus to prevent burning. Check frequently
with your hand to see how hot the bow stick is. It should be just hot enough that you
cannot hold onto it.

NOTE: Some really cheap bows have varnish or even lacquer on them and this can catch on
fire and ruin the bow. If you suspect this to be the case, first warn the customer of the
possible problem, but then use a hot plate or a wider flame. (Pour some alcohol in a small
metal cup or tin around 2-3 inches in diameter and light it. When done, extinguish the flame
by covering the container with a small plate).

When heated up, hold the bow at the two ends, but don’t press against the actual
fragile head. The heated area should be longer than the area that will be bent, the ends will
not be bent as much. Cover the head with your palm while you hold the stick with your
fingers of that same hand.
The other hand, the frog end,
is not as critical as it is not so
fragile as the tip. If you are
adding camber, hold the bow
so that the curve is facing
down. Place a cloth on your
leg to protect it from the heat
and rub the bow on that
area. (Fig. 39.3) Apply some
Figure 39.3
pressure as you do this. You
want to add a smooth bend, not an abrupt one.

It would probably be wise to try this out on a cheap bow first to get the feel for how
it works. However, a high-quality bow will be denser and harder to bend. Keep sighting
down the bow and adjust the location of the bend as needed. It may be necessary to warm
the bow again. If straightening the stick, hold it with the direction that you want the bend to
go, facing up. If you need to bend near the tip, be extra careful since the wood is thin and
the head could be snapped off. When the bow stick has cooled, double check the bend with
the hair on and tightened up.

When you get good at bending bows, it is possible to do some small bends just in
your hands. Some repairmen use a block of wood on the bench to press the bow against
while bending, but I feel you have less control as you cannot “feel” the amount of force that
you are putting against the stick. But it is all about practice and getting used to the method.
 40-1

Ch. 40 - Tip

Bow tips need to be replaced from time to time, mostly because someone has
banged the end of the bow into something and broken off the fragile Ivory or because
someone, not being careful, has split the tip when doing a rehair. The tip is traditionally
made of Ivory. It is more fragile than the bow wood, and will break before the bow, just as
the purfling protects the edges and hide glue will come loose before most cracks begin.

NOTE: Today because of the slaughter of the elephant for its tusks, Ivory is no longer used
and is illegal. Many bows will need to have their Ivory tips replaced with a different
material, such as bone. Some expensive bows will have a metal tip. We will just deal with
the replacing one with bone, but the basics are the same.

NOTE: Currently, it is difficult to move a bow from one country to another if any of those
countries belong to the CITIES treaty that makes it illegal to import or export any
endangered species. A special certificate will be required to transport a bow containing
ivory, even for a concert overseas. The certificate will be allowed if the bow meets certain
criteria of age and when the ivory was attached to the bow.

First, the old tip must be removed. This is often just a simple task of getting the
edge of the hobby or opening knife under it and it will pop off. There
is an underlay beneath the ivory/bone just like on the frog slide. If
this doesn’t come off with the tip, it can be trimmed down with the
knife, a chisel and a file. Make sure that the bow stick tip surface
remains flat across its width and at the same curve as it had before,
unless there is an abrupt bend as some very
cheap bows have. Do not change the curve of
the bowhead unless absolutely necessary. Pick a
new tip blank (Fig. 40.1) that is long and wide
enough to cover the entire head; it may
sometimes be necessary to use a viola or cello
tip on a violin bow.

As the tip blank comes from the supplier,

Figure 40.1 it may not have enough curve to it to match the
bow head's curve. In this case, it will be necessary to bend the blank to
fit your needs. A metal tip bender can be purchased (Fig. 40.2); you
clamp the tip into it and heat up the metal
with a torch. Unfortunately, it only comes in
one curve.

You can also make a matching pair of Figure 40.2

clamping blocks out of hardwood. Most bows
use basically the same curve, so keep any of the blocks you
make. (Fig. 40.3) I have found that 3 sets of block shapes
handle 99% of all bows. You should add just a touch of extra
curve in the blocks as the bone will “spring back” slightly when
Figure 40.3
 40-2

released.

Warm up the bow tip on a hot plate or over a flame; lay the tip down on a piece of
metal to protect it as you do not want to burn the bone. Then clamp the tip blank it into the
blocks until it cools. If you want to get fancy, attach some thin sheet metal to the surface
of the blocks, the heat will stay longer against the Ivory.

Once bent, place the tip on the stick and trace the outline of the head onto the
underlay with a pencil. Then use a fret saw, sander or file to
get the tip within
½mm all around the
shape of the bow
head. Find the center
of the mortise and
Figure 40.4
mark the tip, and drill
this with an appropriate size bit for the mortise hole.
Be sure not to go too big in case the tip slips a little Figure 40.5
during gluing. (Fig. 40.4)

Glue the tip onto the head with hide glue. There are commercial clamps, but making
a block with a groove to fit onto
the shaft is easy. (Fig. 40.5) Tie
the shaft to the block by wrapping
with strong thread. A fancy wood
block can also be made with some
notches to assist holding the
thread. (Fig. 40.6) Continue
wrapping the thread around the
tip pulling it tight to clamp the tip
onto the bowhead.

Figure 40.6

I made a tip clamp that attaches quickly and uses one of 4 curved metal shapes.
(Fig. 40.7)

Place some painter’s

masking tape along the edge of
the bowhead to protect it, and
file the bone to shape. The bend
around the very tip should come
to a point following the curves of
the bow tip. (Fig. 40.8)

Using a sharp knife, trim

the hole in the tip to the shape of
the mortise. Be very careful not
Figure 40.7
 40-3

to flare out the cuts in the bone from the mortise or you will never get the hair to look good
in the head. A Dremel type tool with a small grinding
tip can be used to rough out the shape, but be
careful to not go too far and be sure to keep the
sides of the tip bone mortise even with the sides of
the bow mortise.

Figure 40.8
 41-1

Ch. 41 - Pearl Eye

Just as slides are worn away with time because of the skin's acidity, the pearl eyes
that are inserted on most frogs are also
damaged or have just simply fallen out. (Fig.
41.1) Most violin supply houses sell both pre-
made eyes in many sizes (Fig. 41.2) and
blank pieces of pearl that an eye can be made
from. If you find an eye of the correct color

Figure 41.1

and size, that will be far easier, but one can

be made from a blank piece of pearl. If
making one, cut a square of pearl that is
slightly larger than necessary. To make it
easier to hold and file, glue it to a dowel
that is smaller than the finished eye will be.
Decide the best direction for it to sit
matching the other side as closely as
possible. Make a mark on the dowel so you Figure 41.2
will always be putting it back in the frog the
same way.

Using a pointed awl, pick or scrape out any old glue in the hole. A fine, square profile
scraper can also be made. If making an eye from scratch, file the sides of the pearl, giving
it 8 then 16 sides. Smooth out the points until you have a circle that fits snugly into the
hole. File the pearl thinner until it sits proud of the hole by .25 to .5mm at the edges.
(Because of the frog's curve, the center edges may be thicker.) You may also need to make
this end slightly convex to fit the bottom of the hole, as the hole may have been drilled. If
you are working with a pearl eye without the dowel handle, drill a shallow hole slightly
bigger than the eye in a block of wood that can then be clamped to the bench or more
easily held in the hand. Lightly file the edge of the eye at a slight angle to make it easier to
push down into the hole. For most bows, glue the pearl into the hole with Krazy Glue, aka.
Cyanoacrylate glue. However, when working on fine bows, as Krazy Glue is a little brittle, I
prefer to use Loctite 380 Black Max. Have some Acetone handy in case you need to do
some clean up. After the glue has dried, just snap off the dowel, if needed.

Some repairmen simply take the file at this point and file the pearl flush with the
frog. On a good bow, you might end up removing
Ebony and leaving microscopic file lines that can
depreciate a bow's value. To protect the frog, I
prefer to use some thin tape like 3M Magic Plastic
Tape or clear package tape which is even thinner,
and cover the entire frog, even the eye. (The
opaque tape in the picture is being used for so that
Figure 41.3
 41-2

it can be seen). Using a sharp knife, carefully cut the tape next to the eye to allow the tape
to sit flat on the frog, remove the round piece of tape from the eye. (Fig. 41.3)

Using the crossing file, file down the pearl until you have brought it down all over to
the height of the tape. (Fig. 41.4) Using a
Q-tip dipped in the highest concentration
of hydrochloric acid available (usually
37%), blot the pearl and it will be etched
away with the acid. A lower strength acid
can be used although it will take longer.
Muriatic acid is the same as hydrochloric
acid and it is sold in the hardware store
for etching concrete. Wipe it off and check

Figure 41.4
to see how far you still need to go. Any Krazy glue that is exposed will not be eaten away
and acetone will need to be used to clean that up. Continue the process until you have
reached the desired height of the eye either flush with the frog or slightly concave in the
middle. Be careful with the acid as it can burn skin and the fumes are not good for you.
Wear protection and keep some baking soda and water handy for fast cleanup and
neutralization of the acid.

The acid will leave a polished surface on the pearl, but the Ebony will look a little
dried out from the chemicals and pearl dust. Rub a little almond oil (or some other natural
oil) and wax onto the Ebony and polish it to a luster. (Fig. 41.5) The acid can also be used
on slides to simulate a little age.

Figure 41.5
 42-1

Ch. 42 - Leather Bolster and Grips

Leather Bolster

When the bow is held in the hand, the thumb should rest at least partially on a leather
bolster. The bolster (Fig. 42.1) provides both a
cushion for the thumb and protection from wear to the
stick. I have seen bows worn so deeply from thumb
nail wear, that they break. The width of the bolster is
up to the player and can be the entire grip or just the
end where the thumb rests. The minimum width is
Figure 42.1
sometimes dictated by the type and length of the wrap
as it may stop a distance from the frog. Decide first if you will only be replacing the leather,
otherwise do the wire or other wrap first.

Moroccan goatskin (Fig. 42.2) is a widely used leather for bolsters. Lizard skin (Fig.
42.3) is more durable, but is harder to cut and more expensive. The pebble grain in goatskin
makes it very easy to hide the seam. [Link] has these and many other bow parts.

Figure 42.2 Figure 42.3

The frog needs to be positioned all the way forward towards the bow tip so that the
leather will come right up next to it. A typical size violin bolster is around 25mm wide. The
length is determined by the thickness of the bow. Make sure that the width is even the entire
length.

If there is a wrap, you need to build up the area between the wrap and within 2mm of
the frog's forward position, to the same
height of the wrap. (Fig. 42.4) The 2mm gap
allows for the leather bolster to wrap down to
the stick leaving no gap once finished and
thus butting up against the frog. If the bow
owner Figure 42.4
wants something different than the standard tight fit to
the frog, you need to know that prior to installing the
bolster or grip as it might affect the length of the grip.
Typical materials used for this leveling material are
thick thread, brown paper, or even masking tape.
(Although masking tape can be a problem to remove
later on.) There should be an even thickness from frog
to the end of the wrap. Once built up, wrap leather
Figure 42.5 around the stick so that it overlaps itself by 1/4". Cut
 42-2

it to length. (Fig. 42.5)

Lay the leather down with the inside surface facing up. (It will be the rough side and
have no pattern.) Starting from about 1/4" from each end, trim
the leather at an angle
on the "length" ends.
(Fig. 42.6) Thin the
ends at a straight angle
to a knife thin edge. The
trimmed edge should
not have a perfectly
straight line across since
the "outside" 3D pattern
is easier to blend/hide Figure 42.7
Figure 42.6
with a more natural line.

When properly cut, the thinned side from one end will perfectly match up with the
thinned side at the other end; this will result in the same thickness all around. On the width
ends, trim the same way but the angles should be only about 2-3mm from the edge. (Fig.
42.7) If the wrap is a thicker whalebone or plastic wrap, you may want to make the width
side that is by the frog, an extra mm or 2 wide.

One of the length edges is glued to the bow. Hold the bow so that the frog eyelet
mortise is facing up and the end of
the bow is to the right. Place white
glue along the inside of one of the
length edges of the leather and
attach the edge so that the bolster
is facing toward you. (Fig. 42.8) Figure 42.8
The unglued portion of the leather
should be able to wrap down and around the top of the stick with enough overlap to blend
the length edges. This seam should be centered or slightly off-center on the stick. Wrapping
in this direction will insure that the player's thumb will push the seam closed, not apart.

When the glued edge dries enough to be stable, apply glue on the rest of the inside of
the bolster and spread it out evenly. Roll the leather
around the stick applying constant pressure all the
time rolling until it stays put. You can use some water
or spit to lubricate it as you are working it around. You
may need to add a little glue to the very end. When it
appears to be well stuck to itself, use the side of your
thumb nail and bend/roll the narrow-angled edges in
so that they drop down to the stick and winding. (Fig.
42.9)

Figure 42.9 Clean up any remaining glue residue with

water. If you can find a piece of rubber strapping like
 42-3

the kind they use for a tourniquet when you have blood drawn, wrap that around the bolster
to give it a really tight fit. A very large width cut rubber band will also work, but as it is thicker,
it isn't ideal. Leaving it wrapped for 10-20 minutes should be sufficient.

Grips - Metal Wire or Plastic Wrap

Most people like a silver winding or some other variation of metal wire like Gold. Some
cheaper bows have a black and white plastic wrap or a simple 1 piece plastic tube style grip.
There is also a plastic that looks like the old whalebone that has been used on high quality
bows for a long time. Each has its advantages and disadvantages, and the weight that they
add needs to be of consideration. A full-length silver grip that runs all the way to the frog can
add 3 ½ grams of weight. When dealing with a lightweight bow, replacing a light material
wrap with a heavier silver one, is an easy option to add weight.

Violin bows have an average weight in the 57-63gram range. Many players fixate on
finding a specific weight bow, but this is a naive approach because there are bows with
exceptional playing characteristics outside of the average weight range.

If additional weight is needed on a poorly balanced or exceptionally light bow, lead

wrapping can be wrapped under the bolster (you can find suitable options for lead wrapping
on good wine or Champaign bottles or can purchase at a gold supply or golf store). In addition,
a lead plug can be fashioned instead of a wood plug when rehairing the bow (this type of lead
can often be found on the street in the form of lead weights for tire balancing). Silver, as well
as other grip material, is available from violin supply houses. If you will be doing a lot of silver
grips, getting it directly from a silver supply house will save a good deal of money. Typical
gauge diameters that are used on bows are 20, 25, 28, 30, 32 and 35, with 30 being the
standard for violin bows. Depending on the supplier, it may be referred to in inch or metric
thickness sizes. You will notice that the wire gauge size numbers get bigger as the diameter
of the wire gets smaller.

Wire Gauge (AWG) Inch Metric

20 .0320 .812

25 .0179 .455

28 .0126 .321

30 .0100 .255

32 .00795 .202

35 .00561 .143

As silver is very expensive, you can experiment with beading wire that is available at
craft stores. There are many different kinds and sizes, but you can find something close that will
 42-4

be inexpensive and good to practice with. There is a copper/brass/nickel wire available that is
silver (or gold) plated that makes a good-looking grip at a much lower cost than silver. The beading
wire is stiffer than silver so it won’t have as clean a look, so get it a little thinner.

Be careful if you purchase a cheaper silver plated wire from some violin supply houses. The
plating is thin and removing any tarnish may actually remove the plating down to the copper. Many
cheap bows use this and the manufacturers typically put a clear tape over the winding to keep it
from tarnishing. In the long run, the silver is not the expensive part of doing a grip, it is the time
it takes to complete the wrap.

The wire comes on a spool. If you put a long bolt through the spool with some large washers
and a wing nut to tighten the spool on the bolt, you can clamp the spool into a vise. This will allow
you to keep tension on the wire while working. Besides the wire, you will need a soldering iron and
thin solder and some 0000 steel wool. Clean off the entire grip area and make sure the stick is
smooth; any imperfections will show up in the silver. The grip, including the thumb leather, will be
approximately 3” long. If you are replacing an
existing silver grip, keep the silver the same length
and gauge so that the weight will be close to the same
when finished unless you know you need to add
weight.

Plug in the soldering iron and have the solder

handy. I prefer a very fine electronics solder with flux.
With the tip of the bow to your left, pull out several
feet of wire and clamp the spool tight. Take the steel
wool and clean off the silver; this removes any tarnish.
Hammer flat the silver on the very end. (Fig. 42.10)
Wrap the silver around the bow so that it crosses over
itself several times, keeping the wraps snug to each
other and at an even tension around the stick. (I have
used oversize wire to make it clearer) This overlap
area should be on the part of the bow that will be Figure 42.10
covered by the hair. You wrap the silver by rotating
the bow just as you rotate a peg when tuning up a string. After around 5 wraps, take a knife and
trim off the end of the loose wire flush with the last wrap.

Keeping the wire taught between the bow and the spool, continue wrapping the silver in
the same manner making sure to maintain an even tension
of wire around the stick. Also, keep tension of the wire up
against the previous wrap so that no gaps are left in the coil.
(Fig. 42.11) You will need to let out more wire from the spool
as you go and keep cleaning off the tarnish.

Continue until you have reached the point that you

want to stop. If this is all the way under the leather bolster,
be sure to stop 2mm from the forward frog position line.
Make a few more wraps of wire around the stick that are not
snug to the other wraps. Solder all the way around at the
Figure 42.11
 42-5

stop point. (Fig. 42.12)

Trim the wire but be

sure to hold onto the wire going
to the spool or it can unwind
and make a mess. Secure the
end of the wire to the spool
Figure 42.12
with tape. Apply a small dot of
solder at a position under the hair at the starting spot of the bow wrap so that it won't come loose.
Take a fine flat file and smooth out any bumps in the solder on the frog end so that they won’t
show up in the bolster. Be very careful not to file through the silver as the whole grip will unwind.

If you need to build up an area between the stop point of the wrap and the frog line,
remember to leave that 2mm space. If you use paper, trim it to width first, then glue it as
you would a bolster going around as many times as needed to build it up to the same height
as the silver or whatever grip material you used. Then make a bolster to finish off the grip.
Some repairmen will also make a very narrow end leather cap for the start end of the grip;
this will secure the top end area of the silver. This cap should only be 1-2mm wide. You can
also apply it to the top of the silver, just wide enough to cover the few overlaps of the wire
and to go down to the stick hiding the start of the grip. It should be made just like the bolster
although obviously with very narrow length angle cuts; the overlaps can be around the same.
If it is butting against the silver rather than on top of it, only angle the side away from the
silver; the part abutting it can be left thicker.

Silk thread and Silver or Gold wire with silk thread grips are also used on better bows
(Fig. 42.13). The technique is the same but you
have to wrap 2 or even three things at the same
time, often skipping one for a number of turns
Figure 42.13 before wrapping that one again. Just be sure to
always wrap over anything before you cut it off.
Plastic wraps are also done the same way, but the over wrap can be a little bulky, so it is a
good idea to thin down the part that is on the bottom to lessen the bulk. When working with
fake whalebone, glue the two pieces down with a slightly diluted white glue or preferably a
PVA glue, as you lap them down over the bow stick. With the plastic or silk, a drop of Krazy
glue will hold it in place to prevent unwinding.
 43-1

Ch. 43 - Bow Cracks

The most common places to get cracks in the bow are at the frog end (from the
mortise to the end), and at the head when it snaps off. Both of these cracks almost always
happen from the bow being dropped or banged into something. It is very rare for a bow
that has been used to simply “break” without some outside force helping it. Occasionally a
new bow will break at the head, especially if the hair has been left tight or if the humidity
level drops suddenly shrinking the hair. The frog end never just breaks without some sort of
"help".

For many of these repairs, it may be necessary to become a bit of a machinist, as

the tools for these repairs are not typically made. One company, "BowBadger" does make a
nice set of tools for some of these repairs, but they are very expensive. The advantage of
making tools yourself is that you can easily sharpen them when needed or make a special
size.

End Bushing

A crack to the end, if the crack is fresh and otherwise the stick is fine, might glue up
just fine without any other repair or strengthening needed. For a clean fresh crack, just
glue the crack with Krazy Glue and wrap the stick tightly with strong thread. Clean out the
screw hole with a drill in a hand vise and you are on your way. An old crack (or one that
won't close tightly) will often require a reinforcement ring after the crack is glued. This is
referred to as an end bushing and it is a good way to fix student bows or ones that don't
have historical value. An old way of doing this was unsightly, as a ring from a bow screw
was fit to the outside of the stick - ugly and devaluing the bow. For a historical bow of
value, drilling out, filling and re-drilling (like doing a peg bushing) is the only acceptable
way.

If the bow screw is off center or the hole is too big, allowing the bow screw to
wobble, the hole will also need to be filled and re-drilled. If so, make the hole oversize and
when the new hole is drilled in the smaller correct size, that extra new material will support
the crack.

Start by cleaning out the crack by removing old rosin and anything that might
interfere with the gluing process. Soak the end of the stick in acetone for a short time and
then, using a soft bristle brush, clean out the crack.

To insert a reinforcement ring, a special cutter will need to be made. (Fig. 43.1 &
43.2) There are some
generic ones on the market
(screw extractor cutters)
that might work, but I think
the teeth are too coarse and
it is best to have a centering
rod (although those can be
made separately to fit).

The cutter consists of

Figure 43.1
 43-2

a steel tube with teeth at one end, the tube needs to be larger than the bow screw hole, but
smaller than the outer size of the bow. If it is also larger than the end nipple, even better so
that that won't need to be
repaired.

The opposite end of the

cutter tube should be solid to fit
into a drill. It is also a good idea to
have a centering pin that will keep
the cutter centered on the bow
screw hole. These cutters should
be made in several sizes and the
tubing for supporting the crack
needs to be of the same size as the
cutter. I made mine from
Figure 43.2
automotive brake line tubing,
which is soft. I cut the threads and then hardened the steel. These come in 1/4, 6mm, 5/16
and 3/8 OD sizes.

The rings can be made out of Brass or Phenolic Resin Tubing (Fig. 43.3) and are
inserted to a depth of about 2-3mm. The brass tubing is available
in the same sizes as the brake line tubing the cutter was made
from. The phenolic tubing may not come as thin, but if you get it
to the same inside diameter, the outside can be filed down to the
proper thickness. MSC sells Phenolic as well as Brass tubing and
even steel tubing that cutters can be made from.

Secure the bow to the bench with a clamp and a block of

wood with a notch cut out so that the bow won’t move. With the
cutter in a drill on a very slow speed, cut the ring notch in the bow Figure 43.3
stick with the guide rod in the screw hole. As the guide pin is a
loose fit in the cutter, the guide pin won’t rotate
much if at all, it just keeps the cutter from
wandering off center. I put a little bit of tape on
the cutter to mark the depth, which does not
need to be very deep. Save the saw dust from
this process as it will be used to fill in any gaps.
After the notch is cut, make a ring of the same
diameter material as the cutter. (Fig. 43.4)
Figure 43.4
If you have a machinist lathe, collets
(mini-chucks that form a collar) can be used to hold the bow and the cutter can be held at
the other end. I have done it by hand for years. If you need to fill and re-drill the screw
hole, a lathe is much better, but I have used a drill press with good results.

Make the ring slightly shorter than the depth of the notch, and remove any burrs; it
is a good idea to bevel the edges that go into the notch. There is a special tubing wrench
 43-3

(Fig. 43.5) that can be purchased through MicroMark that will both hold the tube and has a
slot for cutting off a length of tubing. They also sell many sizes of tubing.

Tap the ring into the notch and slightly below the surface and glue with Krazy Glue.
Do not use much glue and be sure to wear eye protection
when pushing it in as glue can squirt out of the tight space.
More glue can be added after and it will seep in around it.
Take some of the dust from when the slot was made and
using some Krazy Glue, make a paste and fill in any leftover
space above the ring. Carefully file to a smooth finish. If
there are any gaps where the crack was, fill with the Krazy
glue and the Pernambuco or Brazilwood dust mixture
collected or saw open any hairline gaps and fill with the
appropriate wood shim material.

If you need to fill and re-drill the screw hole, after the
Figure 43.5
hole is opened up, a Pernambuco or resin plug can be made,
glued in and re-drilled. Be sure to leave an appropriately sized nipple on the end. It is best
to open up the hole to at least the size of the nipple. A hollow cutter is best, as the pressure
during the drilling process will be as much inward as outward, allowing for less chance to
open up the crack.

Head Spline

A bow head crack (Fig. 43.6) is more serious. It greatly devalues a bow, usually at
least 80%. The strongest repair for a snapped head is a spline. It is a flat piece of material
inserted in a slot that crosses the break. The head of the
bow is first glued back together with an industrial strength
CA glue. Then a fine-toothed jeweler's circular saw blade
(mine is 3” in diameter with about 170 teeth with a
thickness of .032 - from MSC) is used to cut a slot down
the center of the head. A slow drill or motor, with a drill
chuck mounted horizontally on its shaft, is attached to a
bench. The bow holding device needs to have some
Figure 43.6 horizontal adjustment and an adjustable fence so the bow
can be properly adjusted to where the blade will cut.

Adjust the bow in the jig so the head is lined up straight down the middle of the
blade. Be sure to line up the
blade against the side of the
bow so that you will see
exactly the path that the
blade will take, it should not
be so low that it hits the
upturned tip. (Fig. 43.7)
Figure 43.7
 43-4

Note: Bow is adjusted by tilting or clamping in such a way that the blade misses the tip.

Hold the bow in a device similar to the bow rehair jig's frog holder, that also supports
the head on the sides and under the tip.
This holder should be screwed down to
a board so that the entire apparatus
can be moved into the blade. Make sure
that however the bow head is held
securely, that the path of the bows
head through the blade misses the tip
of the head.

I purchased a small drill press

apparatus that holds a variable speed
hand electric drill, which can also be
rotated to a horizontal position. It also
has an adjustable height table that I
slide my bow in and out on. (Fig. 43.8)
Some large drill presses have the option
to turn the chuck into a horizontal
Figure 43.8
position. Some repairman use a drill
chuck mounted on a mandrel bolted to the bench. The blade must be perfectly
perpendicular to the table surface. I've seen one setup where a drill chuck with the saw
blade was attached to the grinder arbor.

NOTE: This must be a slow speed motor, even 1725 rpm is too fast.

Make the spline out of a hard material like Pernambuco, Ebony or even Carbon Fiber.
Since you will be using the same saw blade for all the splines, make a template of the blade
and mark this shape onto the spline material. If you use wood for the spline, set the grain
so that it runs across the crack to strengthen it. Test fit the spline and then trace the shape
of the bow head onto the spline material. Cut the piece out a few mm’s outside the line.
Glue the spline in with CA glue. Work fast so that the spline will be seated all the way in.
Clamp the sides of the head with a squeeze-type bar clamp. When dry, trim the wood to the
shape of the bow with a knife and files
and lightly sand with 320. (Fig. 43.9) If
you have any small gaps, they can be
filled with some Pernambuco or Ebony
dust and CA glue; use whatever matches
your spline material or bow stick
depending on the gap location. You may
need to do a little French polish of the Figure 43.9
area.

NOTE: My opinion is that a head spline should be visible and no attempt should be made to
hide the fact that the head of the bow has cracked off. Otherwise, someone may try to pass
 43-5

the bow off as unrepaired. Bows that have had a head spline or other repair to a cracked
off head, have a greatly reduced value and should be sold as such. Hiding a repair of this
type just invites deception at some point in the bows future. At this stage, the bow becomes
simply a tool and not an investment.
 44-1

INSTRUMENT REPAIRS
Ch. 44 - Reasons that Strings Break
Strings today are manufactured to such high quality standards that it is almost
impossible for a string to break without help. Really cheap strings do not have the quality
control and as such may break for no apparent reason. The following is a list of common
locations where strings break, their cause and solution.

1. Breaks at fine tuner: The string was installed incorrectly and the tuner sides are pinching
the sides of the string causing it
to break. If using a synthetic
gut string (Perlon core), when
possible, put the peg end of the
string through the hole in the
ball end of the string (forming a
lasso - Fig. 44.1) and put this
lasso around the prongs of the
tuner. This will prevent the
breakage of strings at the tuner.
Lassoing the string is not
necessary on E strings or steel
strings and not recommend at all
Figure 44.1 if you have a tailpiece with built
in fine tuners.

2. Breaks at the tailpiece slot: The string was installed into a tailpiece whose slots are too
tight for the string and it is pinching the sides of the string causing the string to break.
Open the width of the slot for proper clearance using a fine knife.

3. Breaks or unravels at bridge: The bridge groove is either too deep (Fig. 44.2) or too
rough and the string is being pinched. Adjust or replace the bridge. A groove that is too
deep can be filled with baking
soda and a drop of Krazy glue.
The glue will instantly harden the
baking soda and then it can be
filed. It is also recommended to
add a parchment to the bridge at
this spot to strengthen it. If the
neck angle is too high, the
strings will be under more
tension and even a proper bridge
string groove can cause the
Figure 44.2 string to bend and start to come
apart.

4. Breaks or frays in the playing area: The string can wear from considerable use, some
players change their strings as often as every 4 to 6 weeks, due to the amount of playing
 44-2

time. The more you play, small amounts of the metal are worn away and the string gets
thinner and can start to fray or break. An uneven fingerboard can also cause this wear, and
will need to be resurfaced. Sharp fingernails or acidic skin can also eat through the metal
jacket of the string.

5. Breaks at the nut: Like the bridge, a rough or too deep notch in the nut can cause fraying
or breakage of the string. Repair or replace the nut. Use the same method above that was
used on a bridge, but substitute black aniline dye for the baking powder. It dries even
harder. Excessive tuning from improper fitting pegs (ones that slip often) can also cause
breakage at the nut because of the excessive friction. Make sure the grooves are lubricated
with graphite.

6. Breaks between the nut and peg: In most cases, this breakage is caused by tuning the
string too high. This is the weakest part of the string, where it goes from metal to thread
wrapped, and an over-tuned string puts too much force on the string. Strings are only
capable of being tuned a couple of notes higher than they are pitched. On rare occasions,
the grove in the nut is so deep and so narrow that it catches the string and the only section
of string that is actually being tightened is between the nut and the peg, thus putting a lot
of tension in that short area. Small adjustments with the peg make for large pitch changes.

7. Breaks where the string meets the peg: Especially on the E and G strings, the string can
get caught between the edge of
the peg box wall and the hole for
the peg. (Fig. 44.3) Be sure to
properly wrap a string onto the
peg so that the last winding does
not forcibly press against the
pegbox wall. (See Chapter 35.) It
may be necessary to re-drill the
string hole - see the section on
Peg Problems (Chapter 53.).

Figure 44.3
8. Breaks in the windings on the peg: If the string hits the bottom of the peg box, it can be
worn through. Be sure to properly wind the string, without numerous layers over top of one
another. If the string still hits, check the bottom of the pegbox to see if more room can be
added under the peg for proper clearance. The peg hole may be too low and may need to be
relocated.
 45-1

Ch. 45 - Buzzes

Buzzing can sometimes make you want to tear out your hair. Some are very difficult to
diagnose. Here is a list of many of the possible causes and cures:

1. Loose fine tuner hardware - Tighten or replace with a tailpiece with built in tuners.
2. Bottom of fine tuner is touching the top (Fig. 45.1) - Back it off of the top.

Figure 45.1

3. Tuner screw is loose in its threads – As a temporary fix, remove the screw, then
place a few sewing threads (thin thread used in sewing) in the receiver and replace
the screw. Cut off any excess threads. Beeswax will also work as a temporary fix.
4. Finger placement tapes on fingerboard - These act like guitar frets and can easily
cause buzzes. They can also come loose and hit the string. Remove or replace tapes
or use a Silver Metallic Paint Sharpie (Fig. 45.2) or White Out to mark the
fingerboard instead. If tapes are used, the thinner the better; car pin striping or
architectural drafting tape work the best.

Figure 45.2

5. Loose chinrest hardware - Tighten.

6. String is falling apart or loose winding - Replace string.
7. Chinrest is rubbing against the tailpiece (Fig. 45.3) - Move the chinrest over or add
more cork to raise it up. The tailpiece could also be touching the saddle - adjust the

Figure 45.3
 45-2

tailgut.
8. End of string at the peg is hitting the pegbox wall - Re-wrap the string.
9. Shoulder rest is hitting the back of the violin - Raise shoulder rest.
10. Loose mute - Push it back towards tailpiece or get a different style mute.
11. Loose wolf eliminator - Some brands have a screw or nut that can come loose.
12. The string bridge protector tube (Fig. 45.4) is behind the bridge and is loose on the

Figure 45.4

string - Slide it up onto the bridge. A parchment could also be loose.

13. An object in the room buzzing in sympathy with a certain note sometimes can be
mistaken for a buzz in the instrument.
14. Buzz caused by player's personal effects, jewelry or a button, etc. - Remove jewelry.
15. String groove on the nut is too deep, causing open string(s) to buzz against the
fingerboard – Repair or replace nut. Placing a shim under the nut is a good fix. I like
to use 320 sandpaper – it’s already black.
16. String groove in nut is misshaped and the string is buzzing in the groove – Adjust
the groove. Sometimes, Krazy Glue and black aniline dye is a good fix.
17. An edge is open – Re-glue seam.
18. Crack in the instrument – Repair crack.
19. A bump in the fingerboard – A high spot is causing the string to hit, resurface the
fingerboard.
20. A loose fingerboard, usually at the bridge end - Re-glue, but make sure you don't
clamp it so that an excess of curve is put into the board. Be sure to use a clamping
block and pads.
21. Loose purfling (very difficult to find) – Re-glue.
22. Loose bassbar on interior, look through “f” with mirror and light – Remove top and
replace the bar. This happens fairly often on cheaper cellos and not that often on
violins and violas
23. Loose tailpiece fret (Fig. 45.5) – Glue.

Figure 45.5

24. Loose interior lining - The only way to find this is to take off the top off, find it and
re-glue.
25. Top or bottom interior block improperly fit or poorly glued, very hard to find and very
rare, more likely an issue on highly arched instruments - Remove top, reshape or
replace block and re-glue plate.
26. Sliver of wood on top or back that didn't get properly glued during a repair, will only
be visible with the top off - Find and glue the loose piece.
 45-3

27. Dirt in the points of the "f" holes (Fig. 45.6) causing a reedy buzz as the parts rub
together, extremely common – Clean out the junk, sometimes just a business card
through the gap is enough.

Figure 45.6

28. Something else loose inside the instrument - Detect and fix.
29. Loose soundpost or loose sliver of wood on the ends of the post - Check with the
mirror and correct.
30. Loose collar or pin on decorated pegs – Find loose ornamentation and glue.
31. A dribble of glue on the inside – Open the edge and clean out with a piece of
sandpaper, then re-glue the edge.
32. Wood worm damage, especially if someone has tried to "fix" the holes with wood
filler (as it can shrink and then become loose) – Clean out any suspect spots and fill
with pieces of like-wood to the instrument.
33. Problem with endpin cork, ring, tip or screw on a cell, tap on endpin to help diagnose
(Some cello endpins even have a rivet or "c" ring on the end of the end pin rod on
the inside of the instrument, that can come loose.) - Tighten, glue, or remove.
34. A label on the inside of the instrument can come loose – Glue with thin glue through
the “f” hole.

Common Buzzes by type of sound

Woody sound – First check the chinrest and make sure it is not touching the tailpiece.
Then check for open edges or cracks; if an open edge is found insert a piece of paper into
the opening and see if the buzz goes away. Also check to make sure there is no buildup of
gunk (most likely hardened rosin and dust residue) in the "f" holes at the points. If it is
hard like varnish, you will need to use a knife. There might be nut or bridge groove
problems. The soundpost may be loose or have frayed ends. The pegs have loose parts.
Other loose parts on the inside can cause a woody sounding buzz.

Metallic sound - Check the fine tuners. If there seems to be a lot of play in the threads of
the fine tuner screw, remove the screw and apply candle wax, Lava soap, bees wax, or
crayon to the threads or sewing threads to the inside and reinsert. Check the chinrest
hardware as sometimes the chinrest brackets have small slivers of metal buzzing inside of
them. Disassemble the brackets and shake out any loose pieces. Also check for a warped
 45-4

fingerboard or loose fingerboard.

Plastic sound - Most times the fingering tape applied to the fingerboard causes buzzing.
With tapes applied, the fingerboard curvature is compromised and the tapes act like a guitar
fret. I prefer to use a Silver Sharpie Metallic marker to apply dots between the strings as
this does not impede the strings from vibrating. The Sharpie marks (Fig. 45.2) can also be
applied and reapplied if needed, much easier to apply and remove with less damage to the
instrument than tapes. Another common problem with fingering tape is that the adhesive
breaks down and the tapes can actually shift or slide, causing the student to play out of
tune. The Sharpie marks do not in any way hurt the surface of the fingerboard. Also check
to see if the little plastic tube that comes on some strings is loose behind the bridge.
 46-1

Ch. 46 - Removal of Top and Bassbar

Removal of Top

The top will need to be taken off for many repairs, whether it is for a crack to the
body of the instrument, a cracked end pin block or installing a new bassbar. Care must be
taken that little or no damage is done to the instrument while removing the top. The back is
taken off less frequently and is also much harder to remove, partially because of its
hardness and partially because of the button joining the neck. More information on
separating the neck from the button is given in chapter 49.

A few types of opening knives are needed, thinner than what you might have been
using for making as you didn’t need one except for breaking the glue drop seams. A regular
cutting knife is not appropriate.

One opening knife style that I like is

commercially available, sometimes called a Figure 46.1

“shoe knife”, (Fig. 46.1) also available from Howard Core. This knife is usable right out of
the box.

Some ‘antique table knives’ are very

similar and work well and as they are a little
thinner; which is an advantage. I have usually
found them with bone handles like this one that Figure 46.2
I found with a simple internet search. They
were cheap – 6 for under $20. (Fig. 46.2)

NOTE: An artist's spatula can be purchased and sharpened as another option for a
standard opening knife like those above.

The second type will need to be made. (Fig. 46.3) I use spring scraper steel and cut
a piece about 4” -5” long x 1” wide. The
thickness should be about .02 inch or 1/2mm.
Round the edges around the nose of the knife

Figure 46.3
and grind one edge thinner than, but not
as sharp as, a regular knife. I like to
wrap and glue the end with leather to
make it easier to hold.

Start with the thinner blade along

the end grain. Sometimes the upper bout
where the hand touches the plate or the
lower bout at the chinrest (Fig. 46.4) will

Figure 46.4
 46-2

be a little weak because of perspiration that has penetrated the seam and therefore a good
spot.

Work the edge of the thinnest knife in until it passes through to the inside. Then use
a thicker knife to work your way around. Sometimes it's useful to switch between the
thicker and thinner one, but avoid slicing the wood when using the thin one. Also avoid
holding the blade parallel to the grain as this can stress the wood at that point and cause a
crack.

Always keep as much of the blade in the seam as you can, which will keep it from
cutting into the wood. It is also useful to work the blade from the inside toward the outside
when possible, especially on wood that may not have been split. It is useful and advised to
keep the thumb on the plate above where the knife is, as you might feel the wood being
stressed before it cracks. When it comes to the end blocks, work the blade from the inside
as much as possible. You will also need to use the thin blade to work into where the top
goes around the edge of the neck at the mortise.

Remove the saddle before trying to get the knife in the lower block area, as it may
put extra tension on the top. A lot of tops have been cracked at the saddle trying to pull
them off together. Saddle cracks are also common from wood that was too green when the
instrument was made and thus the wood shrank around the saddle. Sometimes tapping the
saddle from the plate side using a small block of wood will break the glue loose.

You can make a special long opening knife for the upper block area of the top. Affix
a long handle to a wide piece of scraper metal that has been sharpened. (Fig. 46.5) The
blade is extended up
from the bottom
block area already
opened up and it is
worked into the
seam between the
Figure 46.5 top and the block.

When the top seems to be loose, lift up gently from the bottom block to see if it is
free from the neck block. If not, keep working the blade in under the top until it is free. You
will get a feel for how the seam pops when it opens. Once the top is off, remove any slivers
of the top that are left on the ribs and carefully glue them back on to the top.

NOTE: If both the top and back need to be removed, try to remove only one at a time.
Removing both the top and the back without making a frame that attaches to the blocks will
cause the ribs to lose their proper shape. If you can do one repair first, begin by removing,
repairing, and reattaching the top then proceeding to repairs which require the back to be
removed.

Bassbar

A new bar on an old instrument is done just like when making one for a new
instrument. The exception is that if the “f” holes are closer together than the 42mm bridge
width, the bar will need to be moved over maintaining the same angle, until it clears the
 46-3

upper “f” hole eye. An older instrument may also be somewhat deformed or very weak and
for this, a frame can be clamped around the edge to hold the top in its proper shape. The
frame can be made from 1/8” thick aluminum a commercial one used to be available, but I
have not been able to find it in recent years. Plywood can be used, but it would have to be
much thicker. The frame is slightly larger than the shape of the plate, and only goes in far
enough to allow clamping. The top is clamped to the frame so that the top does not change
shape as the bar is fitted. This same frame might also be able to be used when doing
doubling as mentioned in a later chapter.

NOTE: If making a bassbar for an instrument with a very high arch, make the bar a few
mm’s shorter or it will stiffen the top too much.
 47-1

Ch. 47 - New Wood on Edge

Banged up edges (Fig. 47.1) are going to happen. Most of these will be corners or at
the widest parts of the
upper or lower bouts of the
top plate. The "C" edge on
the treble side is also likely
to be damaged from the
bow on a student instrument
or one where the neck angle
Figure 47.1 is too low.

Find a piece of wood with as close to the same grain pattern, color and angle of
reflection as possible. These will be mostly important when you go to do the touchup. If the
color or grain doesn’t match, it makes it much harder, if not impossible, to match with color.
If the angle of reflection is off, then when you touch it up it might look good from one
direction, but when you tilt the violin, the refraction of light will be different and it will look
darker or lighter from a different angle. This is the hardest thing to learn to see. Remember
when I said about the top wood, "By having little or no runout, each half of the wood will
reflect light in the same direction; otherwise, under varnish, half of the top could look
darker than the other half." This is the same principle.

Trim away the roughness of the broken edge (Fig. 47.2 and 47.3) so that you have
a flat area to receive the new wood.

Figure 47.2 47.4 47.7

Figure 47.3
Plane the new wood to fit the space, making it slightly higher, wider and longer. (Fig.
47.4 and 47.5) If possible,
make the glue line on the dark
winter growth of the wood.

Figure 47.5

Use a crack clamp (Fig. 47.6) or just rub the pieces together until they catch; glue the new
wood on with hide glue. When dry, trim its profile to the original shape (Fig. 47.7) – copy
the other side of the plate if it is in good shape or sight to the back plate and copy that.
 47-2

After the outline is cut, if the new piece goes in that far, cut the channel just as you
did on the new instrument.
Follow the style of the original
instrument, even if it is not as
clean as you would do. Round
the edges and touch up the piece
to match.

When you need to replace

a long edge piece, you may have
to fit the new wood to a curve or
Figure 47.6
a compound shape. (Fig. 47.8)
This will also need to be done in the “C” bout where wood is replaced because of the bow
hitting the edge. Trim the wood of the
plate, do not go past the purfling if it is
still intact. Once trimmed, take a piece of
paper and with the edge of a pencil,
highlight the area to be replaced. Cut out
a pattern of the shape and transfer it to
your replacement wood. Cut and fit, glue
and continue as before.

The same system works for the

back if an edge is needed, but there, a Figure 47.8
much better fit is needed since grain lines
aren't as prominent to hide the glue joint. Pick similar wood when filling in, but opt for
plainer wood if an exact match can't be obtained. A more highly flamed edge piece will jump
out like a sore thumb. Flame can be painted on, but not reduced. Also, don't use wood
that has a higher fleck than the original, as that will also stand out.

If you need to replace wood that goes inside of the purfling, do the fit the same way,
but remove a little purfling beyond the new wood on both ends so that the purfling cut line
won’t be at the same spot as the new wood. It may be necessary to search out different, or
even make purfling from scratch, to match the original. Usually, you can just thin the black
from some wider purfling material, so start by trying to match the inside white width. In
addition, a much cleaner look will be obtained if you use a tooth pattern on the ends where
the grain lines meet. (Middle drawing in Fig. 47.8) Use your instrument making skills to
carve the wood and finish as above.

When putting new wood on an old instrument, especially in an area where the
varnish may be worn away, it may be best to age the new wood first so it will also look old.
Fuming in ammonia will give it some age. You could also age it with UV. I try to save any
old wood that I can, keeping Spruce pieces and Maple pieces in different boxes. I also
separate out pieces that are big enough for block wood. You may find that some very old
Pine shelf boards or beams from old buildings make nice repair wood. Old guitar top wood
blanks make great edge wood. I will talk more about using this material for doubling. Also
collect Willow and Pearwood. As I mentioned in the making section, it's always best, space
 47-3

permitting, to save all of the pieces when making an instrument, you never know when it
will be just the right piece for a repair.

One type of repair you will encounter will be severe damage to an "f" hole from a
mouse that has chewed their way in to make a nice home in a stored instrument. This
repair will involve the removal of the top, fitting of a complex shape and patching the inside.
Clamps and wedges will need to be used to glue it in and avoiding straight lines will be the
key to a job that can be invisible if done well. I usually fit a piece of wood to the entire area
with slightly angled edges. This way you may not even need clamps. When glued, just saw
out the "f" shape like you do on a new instrument and trim everything to fit.
 48-1

Ch. 48 - Instrument Cracks

Body Cracks

Cracks are a common repair. They range from little ones at the wings of the "f" hole
to major ones on the back where the soundpost sits, and heel cracks on the neck that
require a neck graft. The really little ones where the plates or ribs are not deformed, might
be able to be repaired from the outside without removal of the top and without adding any
reinforcement. When they are deformed or the crack is in an area of tension, then removal
of the top or another part will be necessary and making a cast (counter form) of the area or
plate may be necessary. Casts allow for a secure backing for clamps to press back the part
to its original shape and to support cracks when adding patches.

There are a number of different kinds of casts from standard Plaster of Paris to RTV
rubber, Bondo, and dental compound. I will only discuss ones that I have used. Plaster is
probably the most used material as it is cheap and easy to get. I prefer the quality of
Hydrocal, a type of plaster (available at hobby and train stores), but I will just call it Plaster.

When making a cast, the instrument surface needs to be protected. By far, the best
protection I have used is very thin latex sheeting; a thickness of .006 is acceptable. Enough
to last many years, as it's reusable, will cost around $30 - one place that sells it is MSC.
Alternatively, a thin sheet of aluminum foil pressed over the instrument surface works. but
you need to first apply a thin coat of mineral oil to the varnish and press out the foil so that
it is smooth over the varnish especially the area of the crack. I have also had success using
plastic food film like Saran Wrap. I have even used a plastic garbage bag, but these tend to
have creases where they were folded in the box, so I typically only use them for small
areas, like ribs or partial casts.

In the cast making procedure, a frame needs to be made to hold the plaster.
Whatever protective material is used, make sure that it goes under the frame's edges so
that the plaster does not come in contact with any varnished surface. Casts of ribs are a
little harder and using cling wrap that is easier to pull taught works well. Frames can be
made from wood, clay, foam, cardboard or anything that can create a dam to hold the
plaster in place. See the Soundpost Crack section below for more on plaster casts.

Top or Back Cracks

Cracks in the plates of the instrument are very common and will vary for every
crack, so it is impossible to describe every possible situation. The most important thing is to
think through the operation, make a plan and always practice clamp before any glue is
applied. Cracks to the bassbar and soundpost area are also common and caused by
dropping the instrument, or the neck or tailpiece slamming into the top when the bridge
breaks or they give way. The neck and saddle are harder than the Spruce top wood.
Shrinkage can cause cracks that start in these regions. A soundpost that was installed too
tightly can cause a crack to that area of either the top or back.

Many cracks will be simple to glue, especially if they are caught early. Depending on
where they are on the plate, they may not pull together easily and either removal of the top
 48-2

or, at least, loosening an edge will be needed to close the crack tightly. Obviously, if the
crack will be supported with some sort of patch, a top or back plate will need to come off.
There are some small clamps that will fit inside the "f" hole to allow adding a cleat to the
inside without the removal of a top. The area near the "f" hole, but not too close to the
soundpost, is ideal for this type of repair as long as the area is flat.

There is no "one way fits all", and so a number of different types of clamps and
procedures should be available and
considered. The most often used clamp is
a standard body crack cross clamp. (Fig.
48.1) It is simply a bar of metal that goes
across the plate and has a hook or
rotating tip that goes over the edge. The
Figure 48.1
other end also has a hook of sorts that
typically travels along the bar and has a screw to tighten it
against the side of the instrument. These clamps come in
different lengths and are made of different materials. The ones I
like the most are made from flat strap brass with brass swivel
ends. This makes it easier to bend them to the arch. When
gluing the cracks, always pre-clamp and have everything ready
as the glue starts to set right away.

Each crack will need to be accessed individually and

decisions will need to be made as to what clamps will be needed.
If the crack is the full length of the body, 2 edge clamps may be
needed as well as 4-5 body clamps, but using any at all depends
on how the crack is going together when dry-clamped. Figure 48.2

Another type of clamp that is useful is the “end crack

clamp”. (Fig. 48.2) A crack that terminates close to the neck or endpin cannot be clamped
across at the ends. This type of clamp straddles the crack and is tightened drawing the
crack together. A different model is available that has tightening screws on both sides,
above and below the plate. This allows for
plate deformity corrections as the two sides of
the crack can be adjusted independently for
better leveling. End crack clamps are often
used in conjunction with cross clamps. (Fig.
48.3)

Another way to apply pressure to a

crack like this is to temporarily glue some
wood to the underside of the plate on both
Figure 48.3
sides with the edges parallel to the center
seam. This allows cross clamps to apply pressure all the way to the end of the crack. This
method is also useful on high-quality instruments so any damage to the edges from the
clamp pressure can be avoided.
 48-3

In some cases, the crack won’t be able to be made flat with cross clamps, or
more access to the outside of the crack is needed. With this
situation, some blocks of wood, at least 1/2" square by 5/8"
high, are glued to the inside of the instrument on both sides
of the crack. The blocks can then be clamped together with a
special crack clamp that can apply pressure directly at the
base of the wood blocks. A metal clamp is commercially
available for this, they cost $10. (Fig. 48.4) I'm not a big Figure 48.4
fan of this design as the screw is hard to get to.

A very simple and cheap-to-make clamp, using a carriage bolt, nut and PVC pipe
(5/8” wide x 2-4” in diameter), works just
as well and can be made for just a few
dollars. (You can even temporarily use the
bolts from your body closing clamps
making it even cheaper.) (Fig. 48.5, 48.6,
48.7) A small section of the PVC needs to

Figure 48.5

Figure 48.6

be sawn out the width of the glued-on block

spacing. The clamp is tightened through the
Figure 48.7
use of a bolt with a thumb nut. If the plate
needs to be bent back the other way, a wedge can be placed between the blocks. An even
larger version of this clamp can be made to use on an end pin block that has split and needs
to be closed. The big advantage to this system is that all of the clamp portion is on the
back side of the plate making the varnish surface fully available to see and feel and
hopefully make perfectly level. Keeping a hair dryer or hot air gun at the ready is useful
during gluing if you need to slightly warm the area to keep the glue from setting before you
have the crack level and tight.

Old cracks may even need some additional attention to get them to properly line up.
Place an acrylic or other pad type counter form, over the crack. Then using a deep throat
clamp, like those used for a bassbar, clamp on both sides, or on top of the crack to assist in
leveling it. (Fig. 48.8) When using this type of clamp, use a stiff cardboard pad on the
inside as the inside is not as important to be level as compared to the outside surface.
Rubbing dry soap on the acrylic before gluing will help to keep any glue that oozes out from
 48-4

sticking and damaging the varnish.

I have also glued a piece of wood

onto one side of the crack where it overlaps
the other side by a 1/2" or so. Then I have
used a wedge under the free side of the
"long cleat", to push that side down.

Old cracks that have been open for a

while may also need to be cleaned of dirt
and rosin or even small pieces removed (or
added) to bring the crack together. This,
however, can be like trying to trim a leg on
a chair so that the chair doesn't wobble.
Pretty soon you have a child's chair. Often Figure 48.8
bleach will need to be used to clean a dirty
crack. Standard laundry bleach will work, but it has a short shelf life. I prefer Whitney’s
Blech-White, available at an auto supply store. A crystalline bleach, Oxalic Acid, that you
dissolve what you need for the job at hand, is available from woodworking stores. Another
type of cleaning agent for cracks is a product called Triton-X 100 detergent. I purchased
mine from Cremona Tools, but Amazon sells it. Dilute this strong product with water, 5
drops detergent per 3-4 oz.

When cleaning out a crack, small particles may be stubborn to get out. I take a
bamboo skewer like you get in the kitchen department and I carve the end to a sharp point,
then lightly pound the end which separates the fibers and forms a small brush. Also, keep
an Xacto knife handy as the point can be very useful. Another option is a fine stiff wire like a
short piece of E string in a pin vise.

After the crack is glued, cleats (like those discussed in making an instrument) will
need to be made out of the same wood as the plate they are going on; Spruce for Spruce,
Maple for Maple. Don’t forget to glue them on with the grain going the opposite direction of
the plate. The spacing of the cleats will be based more on the cracks themselves. If the
crack is really fresh and easy to repair, then the usual 1½” -2” spacing will suffice.
However, on old instruments where the crack may be missing some wood or the crack
doesn't close perfectly, extra strength may be needed and so a closer spacing is called for,
as well as making the thickness of the cleats slightly greater. If you have several cracks
that are very close to each other, it may be useful to make somewhat wider cleats that span
across several cracks rather than using so many. A larger patch may be needed instead of
cleats for a very damaged area.

Because adding a lot of cleats may add some weight that could damage the sound,
some alternatives are available depending on the specific needs of the damage. A linen
strip (like from an old sheet) can be used when a very lightweight solution is required.
Remove a thread or two from all sides of the strip, the resulting thread "fingers" will act to
keep the linen from lifting at the edges. Some repairmen also use parchment pieces for
areas not under a lot of stress, for instance just under an "f" hole. Another alternative is to
 48-5

use handmade Japanese paper like Kozo or Mulberry paper. This is something I tried after
seeing the calfskin/parchment that had been used for decades coming loose at the edges
and buzzing. I knew that some of the papers that were handmade had longer fibers, so I
thought I would give it a try. The extra-long fibers in these papers allow for very good
strength. The paper should not be cut, but rather torn to leave a more jagged edge which
like the linen will be less likely to curl up. Several layers can be placed on top of one
another for extra strength.

On cracks that have been open a long time, clamp pressure may not bring the crack
together and if you have to apply a lot of force, the crack will probably come back open.
One method to fill a gap in a crack is to use shavings of the same kind of wood. Try to get
wood of the same type and hardness and, if possible, where the wood has aged to a similar
color. Plane shavings so that you get ones that are about .1mm thick and of the same grain
orientation, usually quarter sawn. It is often useful to wet the wood first so that the
shavings don't curl. Press them flat in a book or under a heavy object until they dry. It is
hard to put these shavings in the crack, glue them, and get a level surface.

The following method will allow you to level the surfaces. Test fit the shavings first,
glue the shavings into place and trim off the inside pieces to within a mm. Have clamping
blocks ready-made from stiff wood that have a gap for the shavings. These are used on the
top and acrylic strip used on the bottom. Glue and clamp in place. When dry, trim the
outside shaving to the high spots on both sides. If the crack is not all the way level, soften
the glue by using a wet cotton cloth strip on the outside until the glue softens, usually
around 20 minutes. Using acrylic on the outside and card stock on the inside, re-clamp the
crack until dry.

If the cracks are under or right along the bassbar, the cleats will need to be glued on
after the bar is fit, but before it is glued on. In this instance, fit the bar, glue the cleats, cut
out notches in the bottom of the bar just big enough for the cleats, and then glue in the bar.
Since the bar is also protecting the crack somewhat, the cleats here can be minimal in
thickness. If the violin is on the cheap side, you can also insert the cleats into and flush
with the plate surface, and then glue the bar normally. Removal of original wood on any
valuable or collectible instrument should only be done as a last resort.

Often time a crack has been previously poorly repaired; it may even have been
repaired with white or yellow glue, which never should be done because it is so hard to
reverse. To open a crack that has been glued with hide glue and is difficult to re-open, try
applying a little warm water on a cotton or linen strip so that it might be soaked up. Too
long of an exposure may make the moisture go all the way to the surface and damage the
varnish, so just be careful. Meat tenderizer can also be used to penetrate the glue, after all,
it is a protein. Once opened, neutralize the meat tenderizer with standard hydrogen
peroxide. If white or yellow glue was used, you can try a solvent based paint stripper, or
white vinegar, however, there is a strong possibility that some varnish damage will occur.

When all is done, glue the top back on and finish with touchup.

Soundpost Cracks

Cracks to the soundpost area are very serious and must be repaired as soon as
 48-6

possible, so that the crack is not deformed by the soundpost pressure. This is one place
that an oval inlaid patch will need to be made. This patch is recessed into the instrument by
the removal of old wood, and must go down at least 50% of the way, more so on a very
thin instrument. Before cutting into the instrument, you need to make a clamping pad. If
you will only be cutting in half way on a plate that is reasonably thick, an acrylic
counterform pad can be used, but it is far from ideal.

I prefer to make a plaster cast of the plate whenever I am cutting into old wood to
insert a patch. If there is no deformed area of the plate that will be corrected, repair all
cracks prior to making the cast. This will mean that you won't have to reshape the plaster.
The plate is glue tacked (varnish side up) to a piece of plywood using some brown craft
paper at the glue spots, making it easier to pop off later. I like using paper from a brown
grocery bag.

If the plate is deformed and cracked, then the plate will be repaired after the cast is
made. Because of the weight of the plaster, the plate could deform even more. In this case,
the plywood base should have a rectangular hole cut out so that wedges of wood can be
placed under the plate to prop it up.

Make a frame to fit around the entire instrument. If made from wood, it should be
able to come apart so that it will be easier to remove. A plywood or soft wood frame can be
used; this frame will be clamped or screwed down to a plywood base. The frame needs to
be tall enough so that it is at least 3/4” above the top of the arch.

Another nice material for making a frame, and what I mostly use, is 1½” or 2” rigid
insulation like is sometimes use for
insulating houses. (Fig. 48.9) It cuts
easily with a band saw or coping saw;
it’s fairly cheap, lightweight and will
come off the plaster easier. It comes
in different thicknesses and if you are
layering it, the layers can be glued
together with construction adhesive.
If using the insulation, use some
strips or blocks of wood and clamp it
down to the plywood. The one
pictured is 2 pieces of 1" glued
together. Saran Wrap is being used as
Figure 48.9 the protective material over the
instruments varnish surface.

Instead of a violin-shaped form, a simple 1x2 frame can be made, but you will be
wasting a lot of plaster in the corners and "C" bouts. If you make the frame around 1/4"
oversize around the plate, it may be able to be used for any instrument the same length. I
use the stacked washers like we used to trace the ribs onto the plates, to trace the plate
outline on the foam. To ease the removal of the plaster from the frame, especially on wood,
I use packaging tape and wrap it around the frame, but it isn't needed with the foam.
 48-7

Prior to attaching the frame to the plywood base, place your protective sheet down
over the plate and make sure that it goes under the frame area to avoid plaster getting on
the varnish. Tape can be used to pull the sheet taught to remove any wrinkles. Clamp down
the frame, and check to see if there are any wrinkles in the sheet. If there are, just slightly
loosen the clamp and remove the wrinkles. Cut a piece of plywood that will fit within the
frame to give you a nice flat clamping surface.

Mix up some Plaster as per the manufacturer's instructions and pour it into the frame
slowly until it reaches the top or is
sufficiently thick. 4-5 pounds of dry
plaster should be enough for a
violin/viola if you do a close shaped
frame. (Fig. 48.10) (In the photo, I
added a center cross clamp as the
plaster was leaking a little.) Some
repairmen like to push some 4” long
horsehair bits into the wet plaster at
different angles to strengthen it.
Place the plywood piece on top of the
plaster and gently press it in slightly.
While it is still liquid, lightly tap the
frame or bounce the assembly to
allow any bubbles to come to the Figure 48.10
surface.

NOTE: If you used a little too much water, it will tend to rise to the top. I take a syringe
and suck off the water; this will make the plaster dry quicker.

Plaster gets warm as it hardens, so monitor it. Unclamp the frame when the
temperature gets to around 90°. Remove it
from the plate and let it dry at least
overnight, placing it on stilts to fully be
exposed to the air. (Fig. 48.11) You don't
want the hot plaster to be up against the
varnish for very long. Do not pop the plate off
of the plywood until you have checked the
plaster cast for quality. If using foil and oil as
a protective sheet, remove it as soon as you
know that the cast was good, avoiding
Figure 48.11 rubbing any oil into a crack. When the cast is
fully dry, scrape off any sharp edges.

If the plate is deformed, the reverse damage will show on the plaster cast. Using a
scraper, adjust the plaster so that the deformity is gone and the shape is back to the
original. If the deformation wasn't too far off and is only in the area of the patch, gluing the
new wood in should reverse the issue. If it was bad, then you will need to warp it back first.
To accomplish this, you make a cloth bag of the size of the area to be pressed. Fill the bag
 48-8

with warmed sand or dry Wheat Bulgar. (I discovered Bulgar after using one of those re-
heatable natural fill neck warmers. I went to the store looking for small seed like things and
thus discovered Bulgar). I prefer using Bulgar as it can be sealed in the bag and warmed in
the microwave (2-3 minutes). This warm bag is then clamped onto the area needing to be
fixed. Care must be taken not to use too much pressure, only as much as is needed to push
the plate to the original shape. Using too much pressure can reverse the winter and
summer grain and ruin the varnish. Too much heat can also scorch the varnish and darken
the wood, I saw this nasty effect on a Bass. No matter what medium you use, sand or
Bulgar, test either on your forearm after it's in the bag. Place a piece of wet paper between
the plate and the hot bag. Practicing on a cheap instrument first is a good idea.

Lay out the area to be cut out. The patch should be oval. The length of the patch
will be determined by the length of the crack or other damage, a larger patch is fine if there
are additional cracks in the area. Don't make it too small either. 2 " long is about right. In
the example below, the patch was being installed because of deep dents from a soundpost.
With the plate placed on the plaster “cradle” for support, the recess is first laid out.

I like to make a template ahead of time that can be traced on both the instrument’s
surface and on the new wood; that way
they start off the same size. (Fig. 48.12) It
may be necessary to clamp the plate to the
casting with wood strips; this will keep it
fully engaged in the cast. Find a grain line
near the crack and draw a line one grain
off-kilter, slightly longer than the length of
the patch. This adds a little more support
for the patch and helps prevent the crack
from opening up again. The crack on this
specific instrument was in line with the Figure 48.12
upper "f" hole.

Cut a recess with gouges, and smooth with scrapers. The edges should not be too
shallow as this will make the edges of the patch want to curl. However, if you make it too
abrupt, part of it will be like gluing end grain to end grain and be difficult to adhere. It is
much easier to fit a patch if the recess is nicely cut.

When the recess is finished, check to see if it is the same as the template, if so, use
that to mark your piece of wood. If you
have gone a little outside of the line, take
a piece of paper and trace the edge of the
recess with the side of a pencil or some
colored chalk. Find a suitable piece of
wood that closely matches the same grain
pattern and is as similar in color as
possible. Use the template to copy the
Figure 48.13
shape onto the patch material. Slightly
skew the grains so that the new wood crosses the old wood by a few grain widths, this is
 48-9

done for strength. Cut out the patch and start to shape it with finger planes and files. It’s a
good idea to put a pencil line at 2-3 points around the recesses edge as well as the
corresponding patch. This will ensure that you always put it back in the same place. (Fig.
48.13) As you can see I have marked the top of the patch for easy reference.

The patch material should be at least ½” thick so that it won’t warp during fitting and
gluing. I sometimes make the patch thinner and then temporarily glue on a thickening piece
to stabilize it. This is especially useful when doing a back-Maple patch as carving on the
Maple to reduce its thickness once it's glued
in is more difficult.

Using sidewalk chalk, (not

blackboard) color in the recess in the plate.
Rub the patch slightly against the recess.
The chalk powder will transfer to the patch
so that you can see what to remove. (Fig.
48.14) Make sure that you only move the
Figure 48.14
patch a very small amount, like 1-2mm.

It is sometimes difficult to move the patch back and forth in the same spot. When
you start to get the fit close, with lots of chalk
transferring, you can add some guide blocks. (Fig.
48.15) Glue two blocks of wood (A), (that are
taller than the patch wood), that have a tight V
shape, to the top plate at the center point of the
ends of the recess (B). Next, glue a strip of wood
(C) on the outside of the top of the patch that Figure 48.15
goes into these two blocks and allows only 1-2mm
of play forward and back, but not side to side. Once the glue has dried, continue the chalk
fitting as before.

When the patch is fit, clean off all the chalk on both parts and check the fit again,
including dry clamping it. I like to use an
extra thick block set on top of the patch so

Figure 48.16
that there is even clamping pressure. You can
cut a small channel in this block so that the
edges and the center apply the clamping
Figure 48.17
 48-10

pressure. All of this ensures that the edges of the patch won't curl up. (Fig. 48.16) Glue in
the patch, use medium thickness glue. If the glue is too thin, the moisture may penetrate
too far into the wood and possibly cause a problem with the varnish. Clean off any excess
glue that has oozed out after about ½ hour and then let dry overnight. (Fig. 48.17)

Use gouges, finger planes and scrapers to trim down the patch. (Fig. 48.18)

Figure 48.18 Figure 48.19

Sometimes a violin top will be a little on the thin side, and the soundpost patch can be
made slightly thicker than the original thickness. Touch up as needed to blend the patch.
Earth tone color chalk can be powdered and mixed to color the wood. (Fig. 48.19)

Rib Cracks

Rib cracks are a little different, mostly because they are so thin. For them you should
always make a clamping pad for the outside. I typically use Plexiglas if I can, one: because
it is clear so you can see what things look like after the clamp is on, and two: because it can
be bent to the rib shape with heat.

For rib cracks and some large instrument plate cracks (where making a full cast
would be unwieldy), I have used plaster wrap, like
that used in hobby work. (Fig. 48.20) A 4" x 180"
roll is under $10. It usually creates a rougher
texture than the traditional plaster cast so I don't
use it as the counterform itself, but rather I use it
to make a Plexiglas strip fit the area.

Figure 48.20
To use the plaster wrap, first
cover the area on the instrument with
Saran wrap. (For this example, I am

Figure 48.21
 48-11

doing a button graft counterform.) Next layer 5-10 strips of the plaster wrap using the
directions included with the specific brand you get. (Fig. 48.21) When hard and dry,
remove it from the instrument, place some plastic wrap or latex over the side that was
against the instrument and repeat the plaster wrap process to create a double cast. (Fig.
48.22)

Obtain some 1/16" or 1/8" hard acrylic sheet (from Amazon, some hardware stores,
the internet...); cut it to size and round the
edges; heat it on a cookie sheet, piece of
flashing, or aluminum foil in the oven/toaster
oven/grill at about 200° (some experimentation
may be needed). Don't allow it to bubble or turn
white or it will be ruined. It won't take long, so
keep testing it. I like to use flashing as it bends
easily and so it can be peeled off of the acrylic,
but is firm enough to keep the acrylic flat and
smooth. I used to just heat the acrylic with a
torch, but when we bought a new toaster oven I
stole the old one for this.
Figure 48.22 Make sure that you have the plaster
pieces marked so they line up how they were
when they hardened. With the two halves separated, moving quickly, pull the acrylic off the
heat (I wear gardening gloves), lay it on the first cast, and sandwich it between the second
cast, and clamp everything together. (Fig. 48.23) Use light pressure so you don't crack the
plaster, squeeze clamps are good for this
step. When cool, you have a good acrylic
counterform for that area.

For very simple crack clamping

pads, acrylic sheet can be cut into strips
either used flat or curved using a bending
iron. I prefer acrylic strips to hard
cardboard or wood counterforms or
clamping pads, as you can see through
the acrylic and make adjustments to
Figure 48.23
clamp locations.

Body clamps, especially the individual ones, are used to tighten the crack together
while the “C” clamps bring the two sides of the crack flush with each other. Sometimes a
crack is slanted in the wood because of the grain pattern, and the pressure from the body
clamp will want to make the sides slide apart. The “C” clamps with the pads will also help
prevent this, but it is difficult to work fast and get everything in line. Always pre-clamp to
see what challenges you will face.

Once glued, either individual or extra-long cleats are applied. If the ribs are
especially thin where the crack is or the rib is warped from top to bottom, it is best to do a
 48-12

long cleat. This will need to be bent to fit. The ribs are one exception to the "same wood for
cleats" rule. Here, it is OK for the long cleat to be made from a lighter wood like Spruce.
This keeps the ribs light. If the rib is not too thin and it is not deformed and the crack closes
well, paper patches can be made. Handmade Japanese paper, Kozo or Mulberry, can be
used. It should be at least 50-70 weight, and should be torn rather than cut; more than one
layer can be applied if needed.

Neck and Scroll Cracks

Cracks to the neck and scroll are often more serious than other cracks. Sometimes
the entire scroll will be broken off. If the crack does not go through any of the peg holes, it
can be glued back on as long as no large pieces are
missing and the parts go back together well. Clamping
it, however, is sometimes troublesome because of the
curves. A block of wood can be fit between the bottom
of the pegbox and the underside of the scroll at the
throat, to keep the scroll from tipping forward when
clamped. (Fig. 48.24) When it is of the proper shape, Figure 48.24
a clamp is placed across the scroll with clamping pads (these can be made from thick cork).
When dry, fill in any missing pieces of wood and touch up.

Peg Hole Cracks

A crack to a peg hole can be troublesome because of the pressure from the peg.
Simply gluing the crack is not enough. A cleat won’t work either. For this, we need to fill the
hole and re-drill it. The crack must first be glued. This can
at times be difficult because of the curves of the scroll,
especially when the crack is at the A peg. (Fig. 48.25)
Sometimes this crack goes completely through and the
scroll comes off. A crack that has been open for a long
time might not come together completely. Once glued,
the hole is filled with what we call a bushing. The hole is
enlarged slightly with the reamer; this will allow the
Figure 48.25
original or a similarly sized peg to be used.

Boxwood Bushings

The material used to fill the hole is almost always Boxwood. (Fig. 48.26) Boxwood is
used because it is very hard, like Maple, but its grain
is very fine and is easy to touch up. Bushing material
is available for purchase already made into the
tapered peg shape. It trims like a peg in a peg
shaver. Once fit, it should be cut with a fine saw to
Figure 48.26
 48-13

about 1mm proud of the pegbox wall on each side, leaving extra allows for some movement
in either direction when gluing it in place.

I have also had good luck with a fiber material called Phenolic resin, available at MSC
Industrial Supply and I am sure many other places. It is available with a center hole or as a
solid and is sold in many sizes, although it comes straight like a dowel. This is also the same
material I use for the end bushing on bows, instead of brass, and it can even be purchased
in sheet form and used for a bowhead spline. It is a little harder than Boxwood and has no
grain and touches up well.

Being careful not to apply enough force to open the glued crack, glue the bushing in
and trim it flush to the surface of the pegbox with a chisel. I actually like using a skew
chisel, cutting from the edge toward the center all around. When the glue is dry, drill a new
hole. Be sure to check the peg alignment so that the strings will properly clear the tops of
the pegs. On most scrolls, that puts the E, A, and D peg holes in a perfect line. Refer to the
peg hole set up from Chapter 24 in the Making a Violin section. On some old scrolls, the
pegbox droops down lower. The A peg may need to be raised slightly, but care must be
taken to not have it too close to the top of the peg box or it will be too weak.

With all bushings, when drilling the new pilot hole, it is best to use a brad point style
drill bit, so that it does not wander off from the starting spot as a standard drill can. Don't
use a bit that is too small or too large; one the size of the end of the reamer is good. When
the hole is drilled, fit the peg, but be sure to leave a ring of Boxwood, especially if the
bushing is to strengthen the hole because of a crack across the hole. This ring will protect
against the crack opening. Touch up the bushings to match the pegbox walls. This is
sometimes difficult or impossible if the hole needs to be relocated.

Obviously, if the hole needs to be relocated, leaving a full ring may not be possible.
On some old violins or very cheap ones, the
holes may need to be filled because of wear
or improper placement. (Fig. 48.27) As can
be seen, these holes are too big, too high and
not in the proper alignment, so strings will be
rubbing on pegs as they cross over them in
the pegbox.

The holes are reamed, filled in and

Figure 48.27

new positions are laid out for better

alignment. The top three pegs should be
set so that a line goes through their center
and a fourth point below the fingerboard's
end height. (Fig. 48.28) The line can also
be set so that it is even a lower angle thus
raising the peg/scroll end. Always keep in
mind the shape of the peg box and try to
avoid having the top peg being too high as
Figure 48.28
 48-14

that will weaken the scroll.

Drill the holes, ream them, do the touchup and fit the pegs, the same as a new
instrument.

Spiral Bushings

Another way to repair a crack that goes through the pegbox, especially if the peg
hole doesn’t need to be moved, is with a spiral
peg bushing. With this method, a thin wood
shaving of Maple or Pear wood is cut with a plane
approximately 1½” wide x 4-6” long, A slight
curve (I use a 7½-8" radius) is cut into the
shaving. (Fig. 48.29) I made a template that
makes it easy to lay out the shape. The idea is
that when you are wrapping the shaving, it
doesn't spiral, but laps over itself fairly evenly. I
Figure 48.29 trim the other edge of the shaving after I see
how it rolls on the mandrel.

This shaving is then coated with hide glue, wrapped around the shaft of a tapered
mandrel, the same taper as your peg reamer/shaver, until dry. A dowel can be shaped into
a mandrel or you can make it out of a material like Delrin or Teflon so that the glue won't
stick. (Fig. 48.30) If a wood dowel
is used, it should be sealed with
shellac and then waxed, or
plumbers Teflon tape could be
Figure 48.30 wound around it first.

I would make 4 different sizes of mandrels that range from small violin to a large
cello. It is easier to make short mandrels that you can cut in the peg shaver, than a single
long one. The shaving should be .1-.2mm thick, use a piece of glass or acrylic to work on
while applying the glue and wrapping the shaving on the dowel. By rolling it while pressing
down on the glass, the shaving will wrap tightly. Hide glue or PVA glue will also work; wet
the shaving first and then apply glue and wrap
the shaving around the mandrel. Cold liquid hide
glue can also be used giving the most time to
work. This is only time this glue is acceptable, in
my opinion.

Figure 48.31 Figure 48.32

Wrap the shaving on the dowel so that
both the curve of the shaving and the wide end of the mandrel is on your right. (Fig. 48.31)
 48-15

This will keep that starting edge from being torn during the reaming process. After the glue
is applied, and the shaving is wrapped on the dowel, wrap the whole thing with a latex
band; Coban medical tape works great - there is no adhesive, it just sticks to itself. (Fig.
48.32) If a thickness of the shaving of more than around 5 wraps is needed, then a full
bushing should be used. Wait a few hours and then slide
the bushing off. Wait overnight to let it fully dry before
using. (Fig. 48.33)

The original
hole is slightly
enlarged to make
sure it is smooth and
round. The shaving
bushing is then test fit Figure 48.33
and then glued into
the hole pressing it in
with the mandrel so
that it is tight. I leave
the mandrel in the
peg hole for an hour
or so while the glue
Figure 48.34
sets. (Fig. 48.34)
When dry, it is trimmed, (Fig. 48.35) reamed smooth to fit
the peg, and touched up.
Figure 48.35

Different sizes can be made in advance, and kept on hand. Instead of wood,
handmade paper, such as Kozo or Mulberry, can be used. Tyvek paper is another option.

Sometimes both spiral bushings and then a regular boxwood bushings are done. This
is to add even greater strength to the hole as the spiral is much stronger, and then the
regular bushing allows for the movement of a badly located peg hole.

A third option is very new, but I am not sure that I like it. It involves using an
expensive special tool that fits in the pegbox and is attached to a drill. A ring groove is
made to the inside of the pegbox wall around the peg hole. This is similar to the fiber end
bushing repair that I have already discussed and maybe phenolic rings could be made to
work with this tool. The tool manufacturer sells rings, but they are made from brass and
that is the troubling part. If a neck graft is ever needed, these brass rings could ruin a saw
at best and at worse make it very difficult to do the proper neck graft. If fiber rings become
available it could be a good option. The maker also says that it can be used to put a ring in
an endpin block that has cracked; however, if you have to take the top off anyway, doing a
new block is not that difficult.
 48-16

Cheek Repairs

Occasionally you will run into a pegbox that is too thin and this may be why the
scroll broke to begin with. It may then also be too thin to hold a bushing very well. For this,
an interior cheek can be added to the inside of the pegbox wall,
the thickness is increased slightly to provide more support.

Wood is removed along the inside of the pegbox wall in

the area that needs to be increased in thickness. If both sides
need wood, a solid piece that goes all the way across can be fit
and the clamp can go all the way across since the middle is filled
in. If one or two separate pieces are used, a thinner piece can
be fit and clamps can be applied that go inside of the pegbox.
(Fig. 48.36) The wood should be glued in with the grain lines
just slightly askew of the original wood, so as to strengthen the
joint. With the interior cheek, bushings are not necessary unless
there is another issue with the holes, but are still recommended
as it is always hard to drill in the center of the existing outer half
depth hole. Figure 48.36

NOTE: I've heard that someone is experimenting with conical bushings inserted on the
inside, but I have not seen them so I cannot comment further.

A cheek graft to the outside of the scroll is almost never acceptable. (Fig. 48.37)
The exception is when a large
chunk of wood is already
missing. On the example
shown, someone had
installed a guitar-type tuning
gear on the A peg because of
a crack. They inset the screw
Figure 48.37
plate so a major chunk of
original wood was already gone. This was also a low-quality student instrument. Extreme
care must be taken when choosing the wood for an external cheek as it will become very
prominent. For the exterior cheek, you must fill the peg holes prior to gluing on the cheek.

When doing an outside cheek, it is best to use a curved cheek rather than a straight
cut as that can cause stress cracks later.

Heel Cracks

This type of crack usually requires the replacement of the neck. This is usually done
with a neck graft. However,
if the instrument is a
student grade, an entire
replacement neck can be
used, as maintaining the Figure 48.38
 48-17

original scroll is not needed and it would often be too expensive to do so. I always save any
“whole” necks that come out of any salvaged instruments. I even save those where the heel
is broken and the rest of the neck is intact, as well as if the heel is fine, but the scroll is
destroyed. The following explains why saving these is useful.

One way to repair a broken heel is through a scarf joint. (Fig. 48.38) This can be
made going either way, by using the existing scroll or heel whichever is unbroken. You
might have to do some filling in at the sides of the neck mortise if a slightly narrower one is
chosen, but this is still easier and cheaper than a traditional neck graft (see below). A scarf
joint is really only acceptable for a cheaper instrument. In the example shown, it was the
scroll that was not worth fixing, so I was able to leave the heel in the instrument.

With this repair, I needed a scroll and neck section of an old neck as the heel was
intact, but the process is mostly the same. An angled cut
(using a Japanese saw with no back spine) is made from
near the bottom of the neck of the original part under the
board to a spot toward the nut, but in the hand surface. I
recommend at least a 5" long gluing surface. (Fig. 48.39)
An equal cut is made out of the replacement material. As
you can see from the photo, I cut a little of the overstand
away, I like leaving the full length of the added material as
often as possible. Care must be taken so that the neck
remains at the correct height and length. Using a neck that
is a little wider is best, never narrower. The surfaces are
planed until all the angles are correct and the piece is glued
on with hide glue or even white/yellow glue. The
fingerboard is replaced, if it was removed (which sometimes
is not necessary), then the neck is filed, scraped and
sanded. The neck is set in the body if a new heel section
was attached. Touch up as needed. Figure 48.39

Another way to repair a cracked heel on a student grade instrument is by inserting a

pin in the heel. For several years, as countless others have done, I used a hardwood dowel.
The fingerboard was removed and the neck was glued back on. A ½-¾" hole was drilled at
a steep angle from the neck/fingerboard surface toward the neck block. The hole needs to
go past the heel crack by a few inches. The length of the hole is measured and marked on a
dowel and cut slightly long. Using the edge of a chisel or a V gouge, I make some small
grooves down the length of the dowel; this is so that all of the glue is not pushed to the
bottom of the hole. Put glue on the dowel and a little in the hole. I like to use polyurethane
glue as it expands to fill any voids. The dowel is hammered into place keeping an eye on the
depth that was marked on the dowel. After it is dry the excess is cut off and the fingerboard
is glued back on.

After a few years observing these repairs, I had seen numerous failures where the
break had opened up and the neck wobbled to and fro
slightly and it has dropped down, making the string
angle over the bridge too low. I came up with a much Figure 48.40
 48-18

stronger repair.

Instead of a dowel, a hanger bolt (Fig. 48.40) is used. A number of different lengths
and diameters of these are available, but generally, I used 5/16"
x 2½" - 3½" long. When driving the bolt into the hole in the heel,
a special bit called a "hanger bolt driver" (Fig. 48.41) is available
Figure 48.41 that fits in a drill making the job really easy.

First the crack is glued back together after the fingerboard is off. (Fig. 48.42- (1). A long
undersize (size of
the bolt shank)
drill bit (2) is
used for the total
length. The top of
the bolt needs to
be below the
fingerboard gluing
Figure 48.42
surface, as it
would be a real pain to cut the bolt off after it was in place. The upper part of the hole, from
just below the crack, should be drilled to a size just wider than the bolt (3) so that there is
no pressure against the crack if the wood moves a little. A larger hole big enough for a
socket (4) for the matching size nut is drilled into the neck, deep enough to hold the nut.
When possible, I like to set the bolt deep enough to hold two nuts. That way I can tighten
one down to the other making it nearly impossible to vibrate loose.

To assist in getting the hanger bolt threaded down into the wood, I took a lag bolt of
the same size as the hanger bolt. (It has the same wood threads, but no machine threads.)
and I ground flats on two sides, in essence making a tap. This bolt also has a hex head
which allows you to use a socket to drive it in and back out. Be aware of the depth of the
hole as you don't want to crack the heel at the base of the hole; just place a wrap of
masking tape on the "tap" to tell you how deep to go. I apply, to the hanger bolt, a little bit
of polyurethane glue which acts as a lubricant and will expand to fill voids. Drive the bolt in
using the driver tool, put a washer on, and add the nut(s), tightening it very snuggly. I like
to add a little polyurethane glue around the nut just as an added protection against it
vibrating loose. The fingerboard can be glued back on right away.

This style of pinning the neck is much stronger and since we are only talking about
student grade instruments, it does no more harm in value than the cracked neck did to
begin with. The process only takes an hour or less if no problems come up, like an
impossible fingerboard to remove. This is where a decision may need to be made. It may
not be worth the extra time and expense to get a stubborn fingerboard off, sometimes it
comes off in pieces and a new board is needed, rarely worth the cost of a new fingerboard.
On these rare occasions, the holes can be drilled through the fingerboard and an Ebony or
other hardwood plug can be made to fill the top of the hole. When this is the situation,
make the plug visible as you don't want a repairman to come along after you, using and
 48-19

damaging a nice opening knife that might hit a metal bolt in the neck. I would still set the
bolt and nuts below the fingerboard/neck surface.

Neck Grafts

A neck graft is a new piece of wood that

replaces the heel and actual hand area of the
neck; it attaches to the pegbox cutting through
Figure 48.43
the first two peg holes. (Fig. 48.43) It is the only
type of repair for a cracked heel that returns the instrument to its original value. The violin
neck graft is a very complex repair that takes many hours. Thus, it is an expensive repair to
perform. A neck graft is done for a number of reasons: the neck was made too short, the
heel or the neck itself is broken, the neck playing surface has been thinned too much in
either direction, the overstand is too short and raising it would require the altering of the
button, or the angle of the neck is wrong and a heel adjustment cannot be made.

The neck is removed from the body and any repairs needed to the instrument, like a
new neck block or rib repairs, are
performed. The absolute center of the
instrument is located so that a correct
neck set will be possible. Sometimes an
old scroll will be irregular and not
Figure 48.44 symmetrical; the most correct angle
possible should be used when installing a
new neck. A new fingerboard is made if one is needed. Do one if at all unsure, but
absolutely if it is too thin or irregular in shape. The first two peg holes should be bushed
while you have full thickness of the pegbox walls for a good gluing surface.

A block of wood (Fig. 48.44) needs to be obtained that is of similar wood to that of
the scroll. It can be of lesser flame, you don’t want more figure in the neck than in the
scroll. The block needs to be larger than the width of the fingerboard at the end of the neck
and long enough (dashed areas) so that there is room to work the block into the recess that
will be cut to receive it.

The neck is first cut off at the scroll end near the upper heel about ¼” below the nut.
(Fig. 48.45)

Next clamp the scroll into a vise and

Figure 48.45

Figure 48.46
 48-20

saw across the crook at a slight angle pointed toward the top of the scroll. (Fig. 48.46) I
use a small clamp, to the bench style vise, with the jaws covered in cork. But the regular
vise will work if you make some clamping pads. Only cut into about where the nut ends.

The next cuts, the ones that run through the pegbox walls, start at the edge of the
scroll in the nut area. The finished graft should run somewhere between the end of the nut
and the second peg hole. (Fig. 48.47) The cut
should be at an angle that clears the top of
the scroll. (Fig. 48.48) The exact angle will be

Figure 48.47
determined by the specifics of the scroll, but
it is best to start high and go deeper if
Figure 48.48
needed, once you are using chisels.

The bottoms of these cuts should be at the same angle that was cut at the crook, or
slightly higher to avoid going too far. Be sure to mark in some
manner exactly where the nut was so that you place it back at the
same spot when fitting the block. I like to
measure the total length of the pegbox
mortise, that way I will know exactly where
the nut ended.

Cut some additional grooves between

the outer ones so that it will be easier to chisel
out the waste wood. (Fig. 48.49) Place the
heel of the scroll onto the bench, and using a
narrow chisel from the inside of the pegbox, or
Figure 48.49
whatever direction works the best with the
grain, chisel out the cut wood until you have a rough graft shape.

If you didn't already do so, insert bushings in any peg holes as

needed. If the peg holes are small and placed properly as in Fig.
48.50, you may be able to skip the bushings. Chisel all the surfaces
smooth and flat; it is impossible to fit the block if the surfaces are not Figure 48.50
flat. You can also use a file, but be careful not to round any surfaces.
 48-21

The top and bottom of the grafting block where it glues to the scroll are not parallel.
(Fig. 48.51) This is done on purpose so
that as you fit the block and it works its
way in, you have additional thickness to
work with. As you fit the block and thus,
remove wood from the bottom of it, it

Figure 48.51
changes the angle. Likewise, the sides are also
angled and as you plane them, the block
travels in so that you can adjust the fit side to
side. (Fig. 48.52) With both the bottom and
the sides angled, after each cut it will be tight
somewhere.

It is just a matter of going slowly,

constantly checking all angles, and working the
wood until all the proper angles are achieved.
Figure 48.52
Steps:

• Find and prepare your block of wood. Flatten the top surface of the block so that you
have a reference point.
• Measure the length of the pegbox so that you know where the old nut was, if it was
acceptable.
• Cut off the neck. (Fig 48.45)
• Make the angled cuts through the second peg hole and at about where the nut
starts; go deep enough so that the cut will be into the solid wood at the bottom of
the pegbox. (Fig 48.47)
• Make the cut on the crook, making sure to maintain the same angle from the
previous cuts. (Fig 48.49)
• Make some additional cuts and chisel out the waste wood. (Fig 48.49)
• Insert bushings as needed.
• Smooth and flatten all the cuts. (Fig 48.50)
• Draw a center line on the grafting block.
• Measure the width and length of the formed graft mortise and mark this on the
block, centered on the line and starting at the very end. Continue the angle down the
sides of the grafting block. Cut these off.
• Measure the heights of the graft mortise and mark on the side of the block, continue
the angle and cut this angle.
• Flatten the bottom of the block, making sure it's flat. If you made the mortise depth
even on both sides, this should be even on both sides from the top of the block.
Check the angle as it goes toward the scroll, remember to make the top of the block
(the fingerboard surface) at an angle so that the extension is above the scroll, just
as you did when you made the neck for the instrument. (Fig 48.51)
• Plane the sides so that they fit. It's a good idea to alternate back and forth until you
 48-22

get very close, trying to maintain the centerline extended to the scroll, just as you
did when carving the scroll. A small change can make a big difference, either for the
good or the bad, so go slow and check frequently. (Fig 48.52)
• Once properly fit, it can be glued. You can make some clamping blocks with cork on
the sides. 3 blocks, one curved one to match the back of the scroll, and 2 for the
sides of the pegbox. If the side cuts through the peg box are made too close to the
nut, the neck wood starts to curve in. This makes for a weaker graft and it makes
clamping the tips harder, as they will tend to curl out. (Fig 48.53)

The rest is basically the same as making a new neck, it's just trimming and fitting to
the instrument.

NOTES:

You need to watch for any tilt when you plane the bottom of the block. Continue
planing, watching carefully in all directions, so that you don’t get too far off before you
correct any problem.

Check the up and down angle so that the fingerboard angle to the scroll top is
correct – remember the fingerboard neck surface angle needs to clear the top of the scroll
by about 1-2mm.

Check that you haven’t gone in too far and that you still have the correct neck length
of wood available. This is one reason why you start with an overly long piece of wood.

When everything looks correct and all the angles have been double and triple
checked, mark where
the graft enters the peg
box where the glue will
be applied. Test clamp
using pads on the sides
of the scroll that
creates the straightest
cross clamping possible
and a pad to protect
the back of the scroll.
(Fig. 48.53) The pad
on the back of the scroll
might be able to be one
Figure 48.53 of your corner bout
clamping blocks. If everything still looks good, glue and clamp on the
grafting block.

When the glue dries, plan out the neck length based on the Stop
length. You should have written down where the nut placement was, if
you followed my directions. (Fig. 48.54) Then proceed like you were Figure 48.54
making a new scroll; cut the length and plane the heel, cut out the
pegbox, glue on the fingerboard, carve the sides of the neck, carve the neck's thickness and
 48-23

round over (Fig. 48.55), set the neck in the body and do the touch up. (Fig. 48.56)

Check for the proper alignment of the peg holes, correct as

necessary, re-drill the holes, fit the pegs and set the instrument up,
if otherwise ready.

NOTE: On a cello graft, it is not necessary to saw out the angles all
the way to a feather edge. The cut can be made under the nut
leaving 1-2mm thick points. This makes it easy to hide the graft
since it doesn't cut across the pegbox walls on the varnished side.

Figure 48.55

Figure 48.56
 49-1

Ch. 49 - Raising the Neck Angle

From old violins to new ones that have had the neck poorly set or on ones where it
has dropped over time, a low neck angle is a common problem. If it is just a mm low that
is ok, but when it becomes several, the quality of the sound is affected as well as creating
problems with bow clearance in the “C” bouts. Before deciding which way to proceed, the
distance between the top plate and the bottom of the fingerboard (the overstand) must be
checked to see if the other angles and measurements are correct.

Mortise Shim

On a very low-quality instrument that isn't worth the expense of major work, and if
the neck is no more than a few mm’s low, a thin shim the width of the mortise and the
height of the top plate can be placed between the top plate and the heel of the neck. As
this puts stress to the ribs and button and may affect how much of the top block is glued to
the top, it should not be done on a quality instrument. The shim thickness is based on how
high the neck needs to be lifted, the thickness of the wedge will be about half that of the lift
needed; i.e. 1/2mm shim for 1mm lift. In order for there to be enough movement in the
ribs, the ribs and neck block need to be loosened from the top plate around the upper bout
corners.

The proper ways to repair this on a quality instrument is either through a shim under
the fingerboard made from Maple, the removal and reset of the neck itself by filling or re-
cutting the mortise, or a neck graft. As each case is different, an assessment needs to be
made as to which way to proceed.

Fingerboard Wedge

A fingerboard wedge by itself can only be used if the space from the board to the top

Figure 49.1
is also too low and you want to do the job on the lesser expensive side without removal of
the neck. The fingerboard is removed and the neck surface planed smooth. A suitable
matching piece of Maple is obtained and glued onto the neck. It is planed down so that the
angle is increased to the correct height and the distance above the top is corrected. (Fig.
49.1)

NOTE: On some instruments Ebony has been used instead of maple, it adds more weight
than the Maple and can make the fingerboard look very thick and clunky, it also is not
proper. Another possible problem with the wedge technique is that it adds thickness to the
neck, so if it is already thin, then great. Unless the fingerboard is also thin, I prefer the
Maple (unless you don’t have good touch up skills as it is harder to hide). While deciding to
 49-2

go the route of a wedge, it should be determined if any other problems exist that would
require the removal of the neck. International sells premade wedges in several thicknesses.

It is OK to leave a 1-1.5mm step at the pegbox end above the pegbox as this makes
it easier to plane down the wedge without hitting the pegbox walls. This step is standard
when making a new instrument. Glue the fingerboard back on and touch up.

Neck Reset

If the neck is to be removed, the hardest part is getting it free of the button. Care
must be taken not to put too much pressure on the button at the purfling as this is a very
weak area. You can try to use the thin opening knife to separate the button from the neck,
as it may just "pop" open. You might also use some alcohol to soften the glue. If it is too
difficult and you feel that the opening knife might be cutting in rather than separating the
glue, a different approach must be taken. If the height between the fingerboard and top is
a little low anyway, requiring lifting the neck, a thin saw, like the Japanese one, can be used
to make a thin saw kerf in the neck heel adjacent to the button. Cut all the way down to the
rib which will allow enough space to insert the opening knife, finish separating the neck heel
from the button by splitting the remaining few mm’s of heel wood.

With either method, the sides next to the ribs also need to be freed. This can be
done at the same time, before or after, but care must be taken not to stress the ribs by
putting sideways pressure on the neck prior to the neck being free. Using the thin opening
knife, work it down next to the neck until it reaches the bottom of the mortise. Don’t skip
where the top goes around the neck. Once you think you have it completely opened with
the knife, (since hide glue tends to fracture apart under an abrupt jolt) take the palm of
your hand and give a quick rap to the side of the neck by the nut. Do this while holding the
neck with the other hand where it enters the body so that you can feel how it is reacting. If
you do not feel a little give, try again a few times, but you are not trying to move the neck
sideways, just jolt the glue to break free. Too much of a jolt and sideways movement can
cause the block to crack. This process needs to be done on both sides. Removal of the pegs
makes this easier. If the top or back is free at this point, be sure to place spindle
gluing clamps on either side of the neck.

Once the neck is free, the glue is cleaned up and any slivers are glued back. Plane
the heel surface flat where the heel glues to the button. Add a
shim of maple (with the same grain direction as the heel) to the
end of the heel. The shim needs to be just thick enough to add
the required height that is needed to correct the overstand, but
also slightly higher and wider than what will be needed for the
finished result. After it has been glued, trim the shim.

Wood may also need to be added on the sides of the

neck or block. Plane the heel surface flat where the heel glues
to the button. Add a shim of maple (with the same grain
direction as the heel) to end of the heel. The shim needs to be
Figure 49.2
just thick enough to add the required height that is needed to
 49-3

correct the overstand, but also slightly higher and wider than what will be needed for the
finished result. After it has been glued, trim the shim. Fit the neck normally, glue and touch
up. (Fig. 49.2) If the lift is substantial and a lot of wood is needed on the sides (more than
a mm), then it is best to leave the new block wood a little low and add rib wood to cover it,
just as the ribs cover the neck block.

If the neck comes out

cleanly and just the angle needs to
be increased, a wedge of block
wood can be fitted in the back of
the mortise. Again, it is better to
cut more away and glue in a
thicker piece that is then adjusted
for the new angle.

Don’t forget on any of these

shims to use wood grain going the
Figure 49.3
same direction. Fig. 49.3 shows
the standard grain direction for quarter sawn wood; if the back was slab cut its grain will be
at 90˚. If several shims are needed, it might be easier to completely fill the mortise with
new wood and then trim it like it was a new neck set, undercutting the old wood for a better
end result.

One-Piece Neck and Block

On some old necks, you may find that the heel is curved, especially if the neck had
an extended heel into the body rather than a traditional separate neck block (often called a
one-piece neck and block - Fig. 49.4). This type
of neck set had the ribs (A) set into the neck (B)
and wedges (C) inserted to hold the ribs in place.

To raise or reset the neck will require

cutting
off this
extende
d odd
shaped
heel;
adding
Maple
Figure 49.4 to the
back of the heel (referred to as a shoe); and
straightening out the sides of the heel by cutting
in (these are typically very curved), adding Maple
here as well, and trimming it down smooth. A new
neck block will also be needed. Figure 49.5

Unfortunately, when pulling an old neck out, when you see a line next to the rib, you
 49-4

may not know if it is just a shim of rib wood, or this added on Maple to correct for a badly fit
neck. Hopefully, you might be able to see that the old neck has a little too much of a curve
going from fingerboard towards the nut as most of these one-piece neck and blocks seem to
have. The reason these were done originally was to save time as the neck top and ribs
were glued all at once.

Some of these techniques may require the button to be trimmed down or an Ebony
ring to be added so that the surface remains straight like a new instrument, or in the case
of the button, is returned to the correct height and width. You don’t want an hourglass
shape to the side of the neck heel. Keep in mind that if it is a good instrument, cutting
down the button is not an acceptable repair.

Heel Split

One way to avoid cutting the button might be a little controversial. After working
with broken necks on so many school instruments and doing some repairs a different way
from the norm, I needed to come up with an easier
way. This is a strong repair, but I wouldn't do it on a
fine instrument, (where a neck graft to increase the
heel size would be best). This repair requires a wedge
of wood to be inserted into the heel, so a saw kerf is
made in the heel after it is separated from the body.
(Fig. 49.5) I go a little off center with the cut so that
the wood isn't strictly end grain which makes it easier
to touch up. Do not cut all the way down through the
fingerboard gluing surface, or more trimming and
touchup will be needed. It also, on a violin/viola heel,
makes it easier to wedge them apart if the kerf is off
center. The fingerboard should be removed to allow for
more movement outward when the wedge is inserted.
Cut down to the base of the curve, also usually where Figure 49.6
the darker varnish ends.

Next, a wedge of Maple is made to push out the

sides of the heel in order to make it wider to
compensate for the smaller width at the button when
lifting it in the mortise. (Fig. 49.6)

Once trimmed down, wood is added to the

bottom of the heel as needed to bring the overstand to
the correct height. On some instruments, the sides of
the heel are curved and if so, wood may need to be
added to the sides of the heel, as fitting it to a mortise
Figure 49.7 would be almost impossible.

The neck is reset into the body and the heel is touched up. (Fig. 49.7)
 50-1

Ch. 50 - Button Graft and Doubling

Button Graft

The back button is very fragile and

may crack across the back at the weakest
spot - the purfling area. (Fig. 50.1) The
only way to properly repair it is through a
button graft to the inside surface of the
back. This requires the removal of the back
from the ribs. Before removal of the back,
decide if the neck was in the correct
position and if you need the button to be
bigger in any direction; this will determine if
you need to alter the size of the button. If
possible save the old button. If the neck
was in solidly and doesn't need to be reset,
Figure 50.1
it may be possible to leave it in the body
and only remove the back.

Remove the entire back plate from the ribs. If the break was clean with plenty of
glue surface, glue the button (if still usable) back onto the back plate, being very careful to
get a perfect fit on the outside. On historically important instruments, it is essential to keep
the button if at all possible, even if that means making a crown for it, if altering the neck
set. A plaster cast of the area may be needed to support the back and button while cutting
in and fitting the new wood. In this example, I am just using a Plexiglas counterform made
using the plaster wrap
technique (discussed
later). You only need a
partial cast unless a full
cast is needed for other
reasons.

On cheap plywood
cellos, it is often easy
enough to just pop open
the upper bout all the way
around; take a small saw
or knife and cut into the
ply’s. Chisels can then be
used to remove wood and
fit a button graft patch.
Figure 50.2 Figure 50.3

Using a fine saw, cut about halfway or slightly more into the back, just slightly wider
than the button. (Fig. 50.2) (On the example, the original button was lost.) If some pieces
of the back came off with the button, you can make this cut slightly wider to incorporate
 50-2

them. Using a chisel, remove the wood between the saw marks and then file flat and
smooth. (Fig. 50.3) It may be necessary to cut in different directions depending on the
wood’s grain. I also like to make the sides of the recess slightly angled in to form a slight
dovetail, making the patch very tight. If you choose, you can cut a line across at the bottom
of the block area (like the pencil line in Fig. 50.2) so that the recess doesn't show inside of
the block area. In that case, the side cuts must also stop at that point.

Fit a Maple patch into the recess, glue and trim it down. (Fig. 50.4) As with other
patches, slightly skew the grain direction. When doing a button graft, it is not necessary to
use two pieces for a two piece back, a single
piece will actually strengthen the back plate.
If, like in this example, the button itself is

Figure 50.4
being replaced, if there is a center seam, you
need to continue that in the new button. You
Figure 50.5
can join two pieces of wood and make the two-
tiered replacement piece all in one operation, or you can glue in the half thickness recessed
piece and then add the two-piece cosmetic button. (Fig. 50.5) In the example, I have opted
for a piece of wood that matched the strange fleck in the wood, rather than the flame which
can be more easily added in the touch up phase.

NOTE: Three quarter replacement wood at the button area is actually more accurate. In
general I do about 65-75% new on a cello and about 75-80% new on a violin or viola.

Once the graft is glued in, trim down the inside flush with the inside surface. If you
were not able to glue to outside original button on previously, use chisels and a plane to cut
down its thickness to glue onto the new wood. Go slowly, as you want to get a good flush
fit, and be careful of the original angle as the button projects from the back. Glue the button
into place. When dry, trim the outside edges of the graft to the button, leaving it slightly
flared out to accommodate the final fit after the back and neck are glued back on. If
everything looks good, glue on the back. Set the neck and trim the button graft to the neck
heel.

On a quality instrument, a hidden button graft (Fig. 50.6) can be done which
 50-3

basically won’t show. Once the button is glued back on and a cast is made, a recess is
made in the button and block area that
does not go all the way to the edge.
This way, when the back is glued on,
there will not be any line of new wood
to show or even touch up. Obviously,
this type of patch is harder to cut and
make flat on the bottom. The
Figure 50.6 maximum size and shape is dictated by
the block area, but it does not have to
be as big as the block as I have shown in the drawing. If the plate is on the thin side, make
the patch wider for more strength. Fit the patch, glue it, trim it, and glue the back plate on.

If the area around the button is deformed, the plaster cast of the area may need to
be altered so the deformity can be corrected.

Doubling

After many years of taking off the top, small pieces of wood are sometimes removed
making the top a little thinner on its edges. In addition,
numerous repaired cracks can cause the top to be deformed or
just need strengthening. (Fig. 50.7) For these reasons, it is
often necessary to do what we call “doubling”. This is when
some of the wood around the
edge, often half the thickness,
is replaced.

Sometimes the edge all

the way around is doubled to
make the instrument healthier.
You will find a number of
instruments where the purfling
groove was cut too deep and,
with only a little wear to the
inside surface, the purfling
shows through. This is more
common on especially thin
edged plates like some French
trade instruments.
Figure 50.7
When new wood is fitted, especially when only in a
small area like the block, it is set off grain by just one or
two grains. The block area of the neck or lower block will
often be all that is necessary to double. A plaster cast is
made of the plate or area so that you have a perfect Figure 50.8
clamping pad. As with other casts, if necessary, change the
 50-4

shape with scrapers until the proper shape is achieved.

Using a knife, finger planes and a file, remove wood from the top in the affected
area, often removing at least half of the original thickness. (Fig. 50.8) Once you have a
good surface that is flat across and tapered at its ends, find a suitable piece of replacement
material. This is where the guitar top blanks are useful, as they are good quality Spruce
and are wide. The pieces are usually wide enough to do half of a viola and the thickness is
about 4-5mm thick. This gives plenty of material to work with without having too much
waste to remove after it's glued in place.

Make a simple paper pattern (Fig. 50.9) of the area and transfer that to the new
wood. Cut it out leaving 1mm or so overhang over the edge and more if wood was missing
from anyplace on the edge.

NOTE: If any new corners or edges need to be added, do this after the doubling is glued on.
This will give you two gluing surfaces at right
angles and will make the seam much stronger. Be
sure to prepare the surface and fit the new wood
before gluing on the doubling.

A thicker piece of waste wood is glued onto

Figure 50.10

the doubling wood to stabilize it, so that fewer

Figure 50.9
clamps are needed. (Fig. 50.10) This is spot
glued onto the new wood so that it can be popped off easily after the doubling wood is glued
on. Thin the doubling wood as much as possible before gluing it on to reduce the amount of
work needing to be done on the more fragile instrument.

Fit the doubling as you would any patch. Once the doubling is fit and glued on, the
thickness stabilizer is trimmed down in height to a good new thickness. On an old
instrument keep to about 4mm on a top and 3.5-3.8mm on a back plate. (Fig. 50.11) If
you are not doing a full doubling but just a small block area, match the thickness to the
 50-5

surrounding original edge. The inside edges of the doubling need to be feathered into the
arch of the plate. Make sure that the
surface is level both end to end, as
well as, side to side, using a straight
edge. Then finish with a scraper.

On an instrument that has

Figure 50.11 been opened many times, the rib
surface may no longer be flat. To
accommodate this problem, you will need to decide whether to alter the rib or leave the top
not as flat as a new instrument. On very fine instruments, the ribs may need to be built up
back to their original height and flat as well as straighten out the plate.

Touch up the raw wood to match the original, if you desire. For this, often times, it is
best to just use powders or powders dissolved in alcohol, since you do not want to use any
actual varnish on the interior surface. After the plate is glued back onto the ribs, any
additional overhang is removed. If you know the original edge overhang is good, the
doubling can be trimmed before the plate is glued on and the edge rounded over.
 51-1

Ch. 51 - Warped Fingerboard or Neck

Occasionally you will run across a fingerboard that appears to need to be resurfaced,
as it has too much lengthwise dip. (Fig. 51.1 - Red arrow) If you look more closely, by

Figure 51.1
placing the straight edge along the gluing surface (Blue line) you may see that the neck is
bowed at the glue surface between it and the fingerboard. (Yellow arrow) This is usually
caused by someone not being careful when gluing back a loose fingerboard. If the
fingerboard was loose for a while, the neck and board could have warped a little. Then if the
board was glued without flattening it first, or clamping it flat while gluing, it then gets glued
on in that warped condition. This, of course, makes playing more difficult because of the
extra space and thus more distance to have to push down the string to make fingerboard
contact. If you simply resurface the fingerboard to the correct curve, the ends of the board
will be thinned too much and the fingerboard will still be warped. The next repairman to
deal with this may have to make a new fingerboard rather than just re-glue the board
properly.

To fix the problem, you will need to either remove the board all the way or, at least,
most of the way. To remove the board, first you will need an opening knife; it should not be
too sharp as it should pop the joint not cut it. The knife is usually worked in at either the
nut or mortise end. It should be done where it goes in the easiest to avoid cutting or
damaging the wood.

First try to lift the bridge end of the fingerboard; often times it will be a little loose
and just pop a little. A little pressure applied between the top and the underside of the
board is often enough, but if it doesn't happen easily, stop with that method. Alcohol can
be used to help pop the joint, but care must be taken that it does not get on the varnish.
Once the knife has worked its way in somewhat, you can push down on the loose section,
past the opening knife, toward the neck and it may "pop" loose further up. Popping the
board loose is almost always preferable to using a knife as the glue will usually give under
pressure because it doesn't penetrate the Ebony much. Continue on until it is completely
 51-2

free. It is not advisable to heat the Ebony or neck while removing the board as they may
warp.

I prefer to take the fingerboard completely off, but it is harder to line everything up
this way. Make sure that both surfaces are clean, some light scraping or filing may be
needed. When re-gluing the fingerboard, you will need to use your clamping blocks that you
made to glue a new fingerboard on. Test clamp the board and lay a 12” straight edged ruler
along the fingerboard/neck glue seam and look to see if the line is straight. If it is, you can
proceed to glue it back. If not, you will need to warm up the fingerboard with the alcohol
lamp or hot plate until it is too hot to touch, then clamp it to a straight thick board. It is
often necessary to spring it slightly beyond flat by use of some shims, as it will tend to
spring back somewhat after the clamps are removed. Once straightened out, glue it back on
with slightly thin glue; warm up the fingerboard gluing surface so that you will have a
longer working time. When dry, surface the fingerboard as needed.

If you have the unlucky job of having to remove a fingerboard that was glued on
with white or yellow glue, you can try white vinegar as a solvent. I have also had some
success with Spray Nine Cleaner. (Don't ask me how I tried that because I have no idea.)
As an added bonus, it works well to remove violin labels as it doesn't soften the paper much
and it seems to leave the ink intact.

NOTE: Guitar repairmen use a heated metal box clamped to the fingerboard for this
operation. This is due to the types of glue used to adhere the fret board and trying to
remove the fretboard without would probably destroy it. I have seen violin repairmen use
this device successfully, but it is expensive and not really necessary.
 52-1

Ch. 52 - Clean and Polish

Players should be advised to wipe the rosin dust from all surfaces with a clean cloth
after each use to avoid buildup of rosin and other dirt. Do not use alcohol to clean any
varnished surface, as this may remove or damage the finish. In general, avoid alcohol since
a small drop could cause significant damage. Oil based polishes, basically all commercial
ones, should be used only sparingly and then only if there is no chance of any open edges
or cracks that the polish could penetrate.

The best polish is one that is wax-based and can be reversed. Many restorers use a
product called Renaissance Wax. When using a wax, use a small amount on a lint free cloth
like cotton-flannel or a piece of an old t-shirt. Rub the polish onto the surface in a circular
motion. Let that dry for a few minutes and then buff it to a luster with a separate cloth; I
like to use microfiber. It won't get the finish to an extreme luster and violinists should be
advised to avoid that look, as that is often the sign of a low-quality instrument finish like
lacquer.

Cleaners and polishes should be used separately or you may end up polishing over
some existing dirt and rosin and just make a mess.

You should always be careful when cleaning and polishing an instrument. Always
clean an instrument before you polish it. Some cleaners are dangerous to use on some
finishes. Without trying it first on an inconspicuous spot, like on the rib by the chinrest, you
won't know how it will react. Most commercial cleaners aren't that effective, as they have to
be very mild so that they don't do any damage. Keep in mind that violins, other than cheap
student ones, are varnished. This varnish is made up of gums and resins and solvents.
Cleaners all have some sort of solvents in them to break down the dirt and rosin; these
solvents can also dissolve varnish since rosin is also a resin. I once saw several inches of
varnish basically slide on a modern Italian violin that was left too close to a rag with alcohol
on it. One repair shop I know doesn't even allow alcohol in the main repair area and has to
be used in a special area.

Many professional violin shops use Xylene to clean violins; this is a very dangerous
chemical to breathe and must be used very carefully and with gloves. It should be used
outside or with an exhaust hood. It is not a solvent for resins that violin varnishes typically
use, so it can be used effectively for cleaning. The best cleaner is none at all and I have
used just spit very successfully. I have also used Calgon, a water softener, to clean
instruments.

As far as polishing goes, most commercial polishes contain oil to make things shiny.
If there are any open edges or cracks in the instrument, the polish can get into those
spaces and make it very difficult to repair as the oil will turn dark and will impede the glue
from setting properly. After the instrument has been cleaned and polished, the best way to
keep it that way is to wipe it down after each time it is played. If the player is getting lots of
rosin dust on the instrument each time they play, they are using too much rosin.

Here are some things to think about:

Always check the instrument for open edges and cracks before you polish as getting polish
 52-2

in one may prevent the proper repair of your instrument.

Never use any household cleaners or wood polishes on an instrument. Only use ones
recommended or designed for instruments or conservation.

Never get alcohol near your instrument. Professionals will use Xylene to clean, see above for
cautions.

Many professionals use Renaissance Wax to polish; it is similar to a paste automotive wax
but has no oils or Silica in it.

Don’t use a combination product to both polish and clean or you will be polishing the dirt
onto the varnish and it will get trapped and may never come off. The longer that rosin sits
on the varnished surfaced the more it becomes part of the varnish. Rosin is an ingredient in
some varnishes, and the main solvent for rosin and most varnishes is the same.

Use only a small amount of polish, gently buffing in small circles with a clean dry cloth.

French Polishing

Another option on polishing after cleaning is to do a French polish. (It is not a

method for high-quality instruments.) The materials needed are: a lint-free linen sheet with
a fine thread count, mineral oil, shellac, alcohol and optionally Benzoin. First dissolve the
Benzoin in alcohol and filter, the Benzoin adds a bit of softness to the polish and may not
always be desirable. The French polish will work with just shellac, but adding the Benzoin
makes for a longer working-time formula.

Make a 4” square of cloth and fold it into thirds placing it in between your fingers
with the two middle fingers on top of the cloth and the first and little finger under it.
Squeeze the fingers together. Wet the cloth with alcohol, but do not let it become dripping
wet, just lightly damp. Add a few drops of shellac, a couple drops of mineral oil and Benzoin
on the cloth where it will make contact with the violin. You don't want the cloth too wet or
the alcohol could eat through some finishes. I strongly suggest you practice on cheap junk
violins to gain experience.

As you start the polishing process, move in a small circular motion a little larger than
the cloth. After the initial application, you may be able to skip adding shellac each time as
there may be enough on the cloth, just needing a few drops of alcohol to release. You will
get the hang of when to add more of what as you practice. Start with a light pressure and
continue to add more as you see how the varnish looks. Do not stop this motion or you may
leave an imprint of the cloth on the varnish. If you start to mess up, keep going and lighten
up the pressure until you can lift off the pad. After the shellac dries up, add a few drops of
alcohol and mineral oil. Continue this procedure until the instrument is completely polished.
Don't use the same area of the cloth for too long or you will get oil build up, which will then
get deposited on the instrument, so refold the cloth to a different area.

It's a good idea to try this first on the back of the violin to gain the necessary skills
and then proceed to the more delicate top and hard to reach areas of the ribs and scroll. Be
careful of the pressure you are using around the "f" holes, especially the wings, and the
 52-3

large lower bout areas of the top that are more susceptible to cracking.

French polishing is not recommended for high-quality instruments unless the varnish
is in bad shape. French polishing adds a thickness of varnish each time it is applied and thus
changes the original intention of the maker and also possibly the sound of the instrument.
Historic instruments should always be repaired with the motto “will this be reversible.” An
option when working on old instruments is French polishing with just alcohol and a drop of
oil for lubrication. This method will not add thickness, but with straight alcohol extreme care
must be taken and should only be undertaken after lots of experience.

When finished French polishing, the instrument should be hung up with the varnish
not touching anything for 24 hours or marks could show up.

NOTE: A lot of furniture is completely finished with the shellac style of French Polishing.
 53-1

Ch. 53 - Peg Problems

Pegs are constantly an issue for the repairman. When making an instrument you
only have to deal with new wood on the pegs and the pegbox, making it relatively easy to
fit the pegs. When dealing with instruments that have already been made, both good and
cheap instruments, you will run into a wide variety of problems. Previously I talked about
damage and cracks to the pegbox, but here we will discuss ill-fitting pegs caused by a
number of things.

Normal tuning can cause pegs and peg holes to go out of round. This causes slipping
and must be fixed by a repairman. Pegs can dry out causing sticking and can usually be
corrected using Peg Dope or "LAVA" soap. I strongly recommended that "Peg Drops" or
chalk not be used, as they can freeze a peg in place and cause permanent damage to the
pegbox when an inexperienced person attempts to free it. These Drops contain both alcohol
and rosin, two things to avoid getting into peg holes. Blackboard chalk contains oil and that
should also be avoided. If chalk is used it should be of the children's sidewalk variety. As it
turns out, that is also the kind that works best for patch and bass bar fitting.

NOTE: I have had a few colleagues say not to use Lava soap because of the small amount
of pumice it contains which is an abrasive. I have used it on my professional violinist sister's
instrument, a Joseph Hel, since 1981 with no wear to the pegs or holes. In addition, I have
used it on 10's of thousands of instruments going through my hands for 35 years, also with
no complaints or extra noticeable wear. It is used by several violin shops that I know of and
by violin makers and restorers. So, all I can say to those that say "don't use it", is that they
probably don't have the vast experience with it that I have had. Pumice is also known to
breaks down very quickly, so any wear is very limited. By far, the biggest problem with
worn pegs and peg holes that I have seen is with the poor quality of the pegs that are used
on many low-quality student instruments and the low quality of wood in their necks.

If you are ever unable to free a peg from the pegbox by simply turning the peg by
hand, do not attempt to free the peg with extra leverage. A small tap from a lightweight
hammer on the small end of the peg will usually “pop” it loose and push it out some. Most
of the broken pegs I see are caused by too much force being applied to the peg. Applying
excessive pressure can also cause cracks to the pegbox or scroll. The amount of time for a
repairman to free the peg is negligible when compared to the amount of time it may take to
replace the peg or repair damage to the scroll or pegbox.

Some Reasons Pegs Slip

A. The pegs do not fit: no matter what you do you cannot get the peg(s) to hold. To tell if
this is the case, take off the string and see if the peg wobbles in the hole. If it does, decide
which side it is too big on and adjust the hole and peg to correct, sometimes they are so far
off that only fitting a new set will work. They may also not fit because of poor workmanship
to begin with. You should save used pegs as this stash may be where you will find a style
match, especially for old pegs.

B. The string hole is too close to the pegbox wall. When the string hole is too close, the peg
cannot be pushed in far enough to hold tuning as the string keeps the peg from going all the
 53-2

way in. Solution: pull the string off, take the peg out, and drill a new small hole in the peg
(appropriately sized to match the string thickness) and set the string back in place.

C. The peg may just need to be lubricated. - A little LAVA brand soap (bar) or Hidersine Peg
Paste put directly on the peg where it rubs in the peg holes will do wonders for slipping
pegs.

D. Pegs also dry out due to too little humidity during the winters. Protect your instrument;
humidifying your case will offer the best protection against the pegs drying out. If you live
anywhere above Georgia in the US, the dryness that winter brings can cause pegs to slip. It
is also the changes in humidity more than just the dryness that causes the strings to go out
of tune. This will be most noticeable when you open your case if the strings are loose. If
you are pushing in the peg as you tune it up and it is still not sticking, then one of the
previous reasons is the cause.

E. The peg wood is too soft and a bump has formed on the wide end of the peg preventing
the peg from going in any further. Reshape the peg, but replacement with a harder peg is a
better solution.

F. The pegbox wood is too soft and the original installation didn’t have the pegs come to the
end of the small end hole, as is very common with beginning student instruments of lesser
quality. The inside of the small end of the hole gets worn and the peg is bottoming out
inside the hole preventing the peg from going further in; it basically forms a bearing
surface. Ream the hole very slightly to allow the peg to fit properly.

Some Reasons Pegs Stick

If the peg is stuck, do not force it as you can break the peg or worse break the scroll off the
neck.

A. The dryness in the air has caused the wood to dry out and the pegs have seized in the
holes. The pegs need lubrication. Use Lava soap or Peg Dope, do not use liquids of any kind.

B. Something has gotten on the pegs. Like a liquid (Peg Drops) which has swelled the wood
or rosin dust that has seized the wood together. Again do not force. Clean off the peg and
apply lubrication as above.

C. The string could be wrapped over itself too much or the bottom of the pegbox is too
close to the peg and the string is caught between the peg and the pegbox. Re-wrap the
string so that it doesn't catch or open up the bottom of the pegbox with a chisel. I have
even seen an E string get caught in the peg hole, sticking the peg in place.

NOTE: For some peg issues, an adjustable shaver may be useful to make some very small
changes in the taper of the peg. On old instruments with very nice pegs that are impossible
to match, this may be needed to avoid doing bushings. A thin shim on one side or another
of the peg shaver hole can shift the peg into a slightly altered angle to make subtle
changes. On minor adjustments, I have used a very fine single-cut type file (# 4 or 6) to
remove high spots on a peg. This must be done very carefully, but on an historic instrument
with old unmatchable pegs, putting a shaver to them was too dangerous.
 54-1

Ch. 54 - Touch Up
Doing touch up to cracks and varnish wear is an art all by itself and, even if I wrote
volumes, the best knowledge will come from doing. As your eye is different from my eye,
you will need to learn how certain types of materials act in the light that you have and to
know how your eye works with that light and how your different touch up materials work for
you.

The type of varnish that was originally used on the instrument will impact what you
use for touch up. For most oil or alcohol varnishes, using an alcohol or spirit varnish base
for touch up is the best way to go. It is more easily reversed and very thin layers can be
applied and they dry fast. As with a spirit varnish, a layer is applied and then not re-applied
until it dries, as it will pull up the previous application. The color is applied slowly over time.

The brush must be close to “dry” when adding the layers. Many, many thin layers is
the way to go Applying a layer with very little color I lot easier to change on the next layer
and doing a clear coat between layers helps to keep the colors from mixing or pulling, but it
is important to apply the coats with the least amount of wetness. Doing 20-30 thin layers of
spirit touchup is not unusual.

NOTE: For a good violin touchup varnish, use the Strad 1704 varnish recipe in the
Varnish section or the commercial Behlen Violin Varnish with a little spike lavender oil added
to help the brush move smoothly. The advantage of making your own is that you know how
old it is and can adjust the quantities slightly as you learn how it works for you.

On some cheaper grades of instruments, lacquer is the best choice as it is even

easier to apply and control. Aniline dyes are often the choice for touch up jobs, but lacquer
based colors are used as well. Some watercolors are also useful to have in the arsenal, as
well as oil colors. If large areas will be touched up down to the wood, like in a large section
of new wood, then matching the original varnish material becomes even more important
and an oil varnish, if oil varnish was originally used, should be considered. Much will be
determined as the individual circumstances dictate.

Mixing the color and media (varnish) in a small dish or plate is advisable. A small
white china plate or bowl works well. I also like the small metal condiment containers. If
you are using an alcohol or oil based varnish, the disposable clear condiment containers that
are used at fast food places work very well, just not for lacquer base as they may dissolve.

When doing touch up on lacquered student instruments, some clear lacquer spray
can be used to seal the wood before applying a color coat as well as between coats to help
prevent dissolving the lower layers. Care must be taken not to over spray other areas that
you are not working on. Having painter's masking tape available is handy for masking off
areas. I also just use my other hand to cover the area next to where I am spraying, if it will
properly shield it. Using the finger to apply the lacquer is sometimes an option.

Many sizes of brushes are handy since touch up will consist of pinpoint areas as well
as large ones. Pointed, as well as flat brushes, should be available. Alcohol touch up tends
to rise up at the edges so very small areas are difficult to touchup as the edges tend to get
very dark. Small scrapers or a very sharp knife may be needed to “shave” off the varnish
 54-2

around the lip of the touch up areas after they dry. When doing touch up of a crack, do not
add any color until the crack itself does not soak up any more varnish. Any color should
always be on top and not seep down into the crack, or you will never be able to match the
color.

Always look at the touch up you are doing from different angles as you proceed, as
some colors may refract differently because of their clarity or in some cases more
opaqueness of the color. Colors should usually be picked for their clarity factor except when
matching varnish on instruments with a more opaque finish. Just as opaqueness on a clear
varnish is bad, clarity on an opaque varnish is equally bad. Clear varnish should be applied
after the color matches, but care must be taken to not make the repaired area higher than
the surrounding one. Some feathering of both color and clear onto the good varnish is to be
expected.

So, as I said at the beginning of this section, working with and learning how the
different colors and media work for you will be how you learn how to do touch up. This can
take years to get the feel for, so do not do touch up on an expensive instrument until you
have a grasp of what you are doing. Even then, as is always the rule with any repair, do
the repair in a way that is reversible. As time goes by, new techniques, tools and materials
become available and, as such, need to be able to be applied.

NOTE: Sometimes there will be a gap that needs to be filled. I typically use a thick spirit
varnish applied with a thin knitting needle or plastic toothpick. It may still ride up a bit so
some trimming may be needed. A product called Deft (thick laquer) has been used for many
years for this, but I found it to not be very compatable and would refract light poorly as
compared to the surounding area. Once you get the area up to the correct height,
trim/scrape it level and then touch up.
 55-1

Ch. 55 - End Pin Shim and Raising the Saddle

End Pin Shim

Frequently, the end pin will become loose. If the hole is rather large, it can be filled
and re-drilled like a peg bushing. However, if it is just a little loose, a larger end pin might
be used, especially if the old one is not of a matching style. Alternatively, a shim may be all
that is needed. A simple and acceptable fix is to just insert a shim of thin sandpaper into the
hole. Use around 150 grit with the sand side facing in.

Raising Saddle

On some highly-arched violins, the tailpiece may come close to or hit the top of the
violin. In this case, a higher than normal saddle will need to be fitted to the instrument. To
see if it will work and what effect it might have on the sound, a piece of thick leather can be
added to the top of the saddle where the tailgut rides over it, to lift the tailpiece up. Once
the height is determined, a new saddle can be made.

Closing Thoughts
This book has been a compilation of many years’ worth of notes and memories.
Much of what I have set forth was learned over my 40 years in the business. Of course,
violin making and repair have been going on for 500 years and many things have not
changed except by minuscule amounts. Some of these ideas and methods have evolved as I
have found how they worked for me as new materials and tools become available. As
repairs on instruments for students and semi-professionals, where cost might be prohibitive
if repaired the way a historically important one is repaired, the technique needed to be
adjusted or improvised. An example is certainly the idea of slicing a saw kerf in the heel to
wedge it wider during a neck reset rather than doing a neck graft as this costs a few
hundred dollars as compared to a few thousand.

As mentioned at the beginning of this book, it is written so that you start with violin
making and work yourself through that before starting on the repairs. The repair section will
not always make sense if you try to start reading there first. If you really aren't going to
make instruments, read the violin making section thoroughly before reading the repair
section. That way, at least, you will have a sense of where to jump back to if you get
confused.

Whereas repair techniques have often changed, violin making has remained a fairly
consistent art, obviously with electricity and artificial light as modern conveniences.
Different schools of violin making, as well as an individual's small differences in style and
technique, are where the individual shows their colors. I may not have been the finest
maker of my day, but I also didn't have the opportunity to spend much of my career in that
vein vs. doing repairs. My instruments, however, have been found in the hands of serious
amateurs, semi-professionals and professionals alike. Many of those players have kept my
instruments for decades. I have also rarely held onto an unsold instrument that I have
 55-2

made for a lengthy period of time.

What I have tried to set forth here are the beginnings for a maker and repairman
with the idea that they might then decide that this could be a vocation for them. I got my
start from an amateur maker that was able to instill in me the idea that I could make an
instrument and that I enjoyed it greatly. I then proceeded to experiment on student
instruments doing mostly minor repairs. Once I was of proper age, I enrolled in a
professional school of violin making. This is, as far as I'm concerned, the only proper way to
learn how to make a violin for the individual who knows they want to make this a career.
Just like when learning how to play the violin, a teacher is essential so they can see what
you are doing and correct or catch issues before they become set in mind or muscle
memory.

I hope that you will find these pages useful in those early steps, as I have tried to
focus my writings for those with no previous experience in the field. The person that
assisted me with the editing process knew almost nothing about violin making or repair and
has never even held a plane. So, if they could understand me, I'm sure you could. I
especially encourage the young to look at this as a potential vocation and starting in one's
teens is certainly acceptable.

As a final note, I strongly recommend that if you are not already a player of one of
the bowed instruments, that you start in earnest to do so. A number of people at my violin
making school were relative beginners on the violin and they struggled when it came to
being able to play, hear, and then adjust an instrument. Becoming at least somewhat
proficient in the instrument will help immensely when trying out instruments that you make
or are adjusting or evaluating if you end up in the business. When listening to an
instrument, being able to produce a smooth sound will allow you to focus on the instrument
under your fingers rather than the technique of trying to play the instrument.

Second Edition 2018, Copyright © 2016 by David S. Lashof

A few drawings in this book are from The Repairing & Restoration of Violins, by Horace
Petherick which is part of the Guttenberg E-book collection of free public domain works.

All other graphics are original works as is the text and are covered under the copyright of
this book. All rights reserved. No part of this book may be reproduced or transmitted in any
form or by any means, electronic or mechanical, including photography, recording, or any
information storage and retrieval system without prior written permission from the author.
 App1-1

Appendix 1 - Tools and Materials (in the order they are needed)
Prices are in 2015 dollars for purchasing the items new, so just use this as a guide.
Not all items are necessary and some can be made simply. Those necessary items marked
with an “*” are difficult or impossible to make and are best purchased from a violin
specialty house or tool seller, as even other similar commercial products aren't sufficient. If
it is something that is to be made cheaply, I have not included costs for that unless it is
over $10. Don't count on any edge tools being ready to go out of the box, even those
specifically intended for use on violins. They may or may not be properly ground and won't
be honed well enough for clean, safe work. There's an alphabetical index at the end of this
Appendix.

Workbench – This needs to have a woodworker's vise at its end at bench height with
adjustable bench dogs. A front vise is also good to have on the other end. A desk and chair
are also useful if you have space, then only the standing work needs to be done at the
bench and a task chair may not be needed. ($175 and up – the one at Harbor Freight will
work although it is a little on the weak side). The ultimate bench is made by Ulmia. It’s
very heavy and sturdy and comes with 2 vises and dogs.

If you are planning to make your own bench, vise screw hardware is available at many
woodworking tool stores and internet sites like Woodcraft Supply. A very nice vise (a
pattern maker's style) that can be rotated horizontally is available from Highland
Woodworking, it’s not cheap but it's an incredibly versatile vise.

A simple bench with a simple vise can be made for under $100. Get a used solid core door
and a standard woodworker's vise with a dog. (I have seen them for under $30 on line.)
Mount the door on legs and drill vertical holes in the door to receive bench dogs made from
dowels. Nice dogs are available at Woodcraft, but dowels made flat on one side will work.
The vise is mounted on the bench’s end at the front corner. Just be sure to get a vise big
enough to hold a neck block and the vise should be lined with wood faces.

Task Chair – like those that a draftsman would use so that a comfortable height can be
obtained as well as a place for your feet. Not necessary if you will only be using the
workbench for standing work. ($70) These can often be found at used furniture stores.

Task Light – swivel arm style that can be positioned at any height or angle. ($20)

Grinder – 1750 rpm max. or hand grinder ($75), 120 grit white aluminum oxide stone
($45). The standard hardware store grinder is
too fast. My grinder (pictured) is a double arbor
(mandrel) style grinder, belt driven by a separate
dual speed motor. I purchased the mandrel from
Grizzly tools. Used hand grinders are available
frequently online and at antique malls. Grizzly
tools makes a very slow speed grinder, less than
100rpm, that also has a leather strop for under
$100, but I find it too slow and difficult to use.
Woodcraft makes a 1750 rpm motor with a
 App1-2

double shaft that includes 2 stones and is around $125. You will still need a good tool rest.

Tool Rest - You will need to purchase or make a good adjustable tool rest to keep the tools
at the same angle to create a constant angle. Veritas makes a great one - pictured ($60) -
you will still need to add a bigger tool rest area - pictured in plexiglass

Sharpening Stones - Water/Diamond - 2 grits (coarse and extra fine) or Japanese

Water stones around 1000 and 6000 ($100). Cheap ones are available at Harbor Freight but
are not nearly as good or nice to work with. The finest stone I have ever worked with is a
"Frictionite," no longer made but can sometimes be found online. They are not cheap. The
small one, around 4" long is double sided and is what I use.

Leather Strop – can be purchased or made from an old plain leather belt. Strop compound
is a nice additive but isn’t absolutely necessary. ($30) It is best if the leather is glued to a
wooden paddle so you can control the angle that you are stropping.

Rib (Body) Template – made from a pattern - I like zinc or vinyl, thin aluminum or Lexan
– stiff enough to not sag. Some hobby stores carry template vinyl sheeting. A vinyl “For
Sale” type sign works well and is the easiest to work with, ($10) but over many years the
vinyl may shrink. The template may also be purchased from a number of violin supply
houses, Howard Core makes a nice one ($75) made from zinc in the style I use, as well as
the matching forms.

Form – ($170) – Purchase or make one from ½" plywood, the more plies the better,
enough for several forms ($30). You can also use ¼” luan plywood for a collapsible viola
form, but it will need to be thinner for a violin form. A complete set of templates and a
form is available from International Violin for around $100, it will need to have the block
areas cut out but the shape is decent.

A simple universal form, for those that are more advanced,

(shown in brown) can be made from 1/2" ply - violin, and
3/4" ply - viola, it can be used with different patterns with a
minimal amount of time expended on its construction. I used
this style (Christmas Tree Form) in the 1970's for my first
couple of instruments before going to the Chicago School.
The style shown needs the long member and cross members
cut half way through (lap jointed) so the entire thing is the
same thickness. I don't recommend this style for the novice,
as the ribs are not as well supported and don't have the full
form to help create the shape.

The pattern's pin holes are transferred simultaneously to it

and a solid plywood working base where the outline pattern is
drawn onto a sheet of paper taped to the working base. A
new form can be quickly made or an old one adjusted with
different beams. A long screw can be inserted in the long vertical beam that protrudes to
the center of the "C" rib. It can be adjusted to the rib line on the drawing allowing for
another reference point and support when gluing. Some holes will need to be drilled for
clamping the ribs to the blocks. This style of form requires the larger square style of block
 App1-3

so that when clamping the "C" ribs, you would clamp across the block. You need similar
clamping blocks for the "C" corners as the trapezoid type clamping block won't work as it
would distort the rib. With this style, when clamping in the upper and lower bout ribs, a
clamp long enough to reach all the way across would be needed, or drill a hole in the cross
members to receive the clamp head.

Advantages include: quick construction only requiring a new pattern and simple straight
pieces with only the block areas needing to be square. Easy reference of the ribs shape
while bending (the paper pattern drawing), access to both linings for gluing, cleanup and
trimming, ease of form removal with both linings in, less overall weight, being able to trace
the inside finished shape onto the plates after the linings are in, simple construction and
less storage space needed for different forms.

Disadvantages include: need to be very accurate in your bending of the ribs since you don't
have a solid structure to press the ribs up against, the rib structure (garland) is not held as
firmly so extra care is needed not to do any damage. More potential for the rib structure to
get out of square.

I've also made ones from one solid piece of plywood. The first one of these I made was in
the late 1980's when I was commissioned to make a
15" viola, a size I thought I would never make again.
This style form is also much less work than a
tradition full shaped form. Drill the pin holes through
the template, plywood for the form, and the plywood
drawing base all at the same time with a drill press,
you can then use the pins of the form to hold it onto
the base while checking the rib shape. As seen in
the inset, the angled corner shape I used for this
form allows for the smaller size blocks, notice the
cuts in the form to allow for clamping. This style also
allows for the traditional rectangle area cut out in
the center for clamping the outer bout ribs.

Even leg divider - ($15)

Pins – cut off nails work well, just choose a size

where the suitable drill bit will make the pin tight in
the form.

Drill Press - A decent one that will be able to drill at least through the width of a pegbox,
so a minimum of 3" for a cello scroll.

Band Saw – I used the 12” Craftsman floor model for 35 years, but anything that is not too
light duty will work. ($400) It needs to be strong enough to cut straight through several
inches of Maple (the scroll). For most work, a ½” hook or skip tooth blade will be sufficient.
If you want a little versatility also get a regular ¼” blade, which is great for closer cuts for
the plate outline and neck block. Set up of a new blade can take some time, so don’t expect
to slap the new one on and be ready to cut in a few minutes. Tweak your saw with “Cool
Blocks™” which keep the blade tight and running cool. The saw must be able to be set so
 App1-4

the blade is perfectly perpendicular to the table, so be careful when purchasing a used saw.
You can also join a woodworkers club or if you are old enough, join a senior center that has
a wood shop. These are great ways to access Band Saws and Drill Presses and save some
shop space.

Coping Saw with Rough Blades – This saw is necessary if you will be using it instead of a
band saw to cut out the outline in the Maple and Spruce plates. ($12)

Standard Wood Files – flat and half round – not too rough – for making the form, rasps
are too rough as they will chip the plywood. A cheap set is just fine for the form work ($15).

Square – 2-3” Engineer’s Type – does not need to have measurement markings ($20),
an all-metal one is ideal so that it won’t change shape over time. The brass and Rosewood
ones are pretty, but not practical.

Rulers – (1) 6” marked in 32nds and in mm, one made by General is great and cheap (2)
30cm rule ($15).

Japanese Saw –without a stiffening back like the Azebiki model (nice to have but not
necessary) ($30)

Hide Glue – granulated 1 lb. ($15), as there are different qualities and strengths, obtaining
from a violin supply house is best.

Glue Pot – needs to keep glue between 140-150° ($125) You can make a simple glue pot
from a Coffee Mug Warmer ($12). Add a Glass Baby Food
Jar or small Jelly Jar and a 1 cup thin metal type measuring
cup or small lightweight saucepan.

Glue Brush -1/2” – horsehair bristle tied together works

well or the cheap disposable metal handle type.

Spatula - Metal Artist's type 4-6” ($5)

Block Material – Spruce, Bass, or Willow – at least 5mm

higher than the finished block height ($10)

Large Knife for Splitting - antique table knife with a wide long stiff blade found at antique
stores ($5)

Hammer – Standard like a claw

hammer ($5)

Block Plane * – with an adjustable throat, the Stanley 12-920 6-1/4-Inch or Lie-Nielsen
model 9-1/2 are both good although the Nielsen is much more
expensive but a dream to use. The block plane will be one of
your most used tools. They can be found online or in flea
markets. If you get one used, make sure that the blade is the
one designed for the plane. ($50-165) The Woodriver brand
from Woodcraft has a funky blade cap lock, it worked but was
clunky to hold. The cheapest new one I like the most is a
Kobalt brand plane at Lowe's (pictured above). It took about 3-4 hours’ work flattening and
 App1-5

grinding the blade and the plane sole, but it turned out fine, and was under $20.

Wood Stilts (make) – from any well-dried wood of medium hardness or greater - 9mm x
11mm x 25cm

Block Gouge – In-cannel * - 8mm sweep x 22mm wide, 8 x 35mm for cello ($65-85) You
will see that the "grind" is on the inside of the curve.

Chisel – ¾” or 1” * - I like Japanese chisels with a hollow grind

on the bottom as they are easy to sharpen and get a nice sharp
edge. Almost any brand of chisel will work, although I am not a
fan of any Swiss-made edge tools as they don’t seem to be able
to get and keep a sharp enough edge as the steel is a little soft.
Antique shops or flea markets are great places to find used ones.
($5-20 ea.) A chisel meant to be struck with a mallet is not
essential as we will not be doing that although I had an old
Stanley Chisel with a metal striker plate that I loved. Smaller width chisels are also very
useful especially for repairs and when setting necks. A set with 1/4”, 3/8”, 1/2”, and 3/4”
will make a good start. Sometimes an even smaller one is useful for bow repairs.

Marble Slab or Flat Board– at least 10” x 18”. If you have a marble counter supply place
near you, the cutouts from sinks or other small cutoff pieces are often available fairly cheap.
If you can find one, an 18” x 18” marble smooth floor tile will work or a marble pastry board
($20). It must be flat and shiny, not textured.

Straight Edge – an 18” one is good for violin or viola, it does not need to have
measurement markings. ($10) Not too light a gauge metal, so it will stay true.

Crossing (Cross) File - 150mm & 200mm, cut 1 - 3 (1 being courser). If you only get
one, the cut 2 is best. Grobet makes high-quality ones ($65-
$100) A half-round file will work but is not as close to the
finished curves as the Crossing file. You could also make a
sandpaper file by getting or making a large diameter dowel (or
oval) and gluing sandpaper (150 grit) to it. An appropriate size
piece of PVC tubing also works.

Xacto Style Hobby Knife - with extra blades ($5). A really

nice one is the Swann-
Morton Brass Craft Knife
Handle and the special #1
blades ($20). This handle
stiffens the blade for more
accuracy.

Ribs – 3 pieces or more of Maple – usually comes

included with the back ($10 and up if purchased
separately)

Bar Clamp – 6” - a minimum of 2 are needed, 3 are better, 6 are best ($15ea.) Get ones
with actual screws, not the squeeze style although those are also useful for some jobs.
 App1-6

Although heavier, the Jorgensen brand ones are very nice. A couple of 12" - 18" ones may
be very useful. I recently purchased some 6" ones at Harbor Freight for $4 each and they
work just fine.

Toothed Blade - for your block plane – one can be made from a regular plane blade
(pictured) using a Dremel and a very thin cutting wheel
($10). Or you can purchase a separate block plane set up for
this purpose, a great use of the Lowe's block plane.

Scraper – Cabinetmaker's style – rectangular ($10) Can also

be made from some of the spring steel assortment mentioned
separately.

Scraper Burnisher – round or oval ($25) Can also be made

from a round screwdriver or drill bit shank placed in a handle.

Mineral Oil – get from a pharmacy - for scraper burnishing. Be sure to clean off the oil so
that it doesn’t get on any wood (the oil is not necessary but it can make the burnisher run
smoother)

Violin Graduation Thickness Caliper *– marked in 10ths of millimeters. The measuring

tips should be of the pin style not the flatter plate style
so that measurements in the channel can easily be
made. There are some styles that will work for cello or
smaller instruments. Whatever style you choose, if
you will be doing any repairs it is best if it can go over
the ribs with them glued to the back. ($185). A
Chinese version is available for under $100 but I do
not know the quality.

I have seen a caliper that was made from plywood and

some metal scrap and a spring, but because of the great differences that even 1/10 of a
mm can make in function and sound, you will achieve a much better end result with one
that was made for the purpose and thus is more accurate. A
dial or digital scale is really the way to go.

A digital lumber thickness gauge will also work and is under

$30 and would be my choice if the dial caliper is too much to
spend at this point. It will read in 10ths of mm as well as
fractions or inch scale and I have used one to build two
instruments, but the traditional caliper is still my first choice
as it is also not as affected when taking reading that are off
of perpendicular. Uses a button battery that needs to be
replaced periodically.

Shooting Board – (make) scrap wood

Back Saw – 8”-10” - long with about 18tpi (teeth per inch) ($10)

Back Saw - Fine Tooth Hobby style– 6” ($10) These are even available on Amazon.
 App1-7

Bending Iron *– I prefer the horn style over the pole type ($150). I also like one specific
to the violin/viola rather than a combination one for
violin/viola/cello. If you can find a used one made by
Gewa, it is the best. International Violin sells a Chinese
one that use, and now that it is made in a 120volt
version, that is a great option.

A simple bending iron can be made cheaply from an

antique style
large electric
soldering iron
like those
used by roofers to solder the seams on copper
gutters. You wedge it inside a brass pipe (3/4" ID) attached to a flange around the iron.
Add an end cap and a dimmer and you're good to go. A propane torch placed inside a pipe
will work, but be very careful about heat buildup. I have also seen a hot air gun used inside
a pipe. I feel very strongly that if you want consistently good results, this is a place not to
skimp.

Bending Strap – (make) ($5) Described in the book's text

Clamping Blocks (make) – from scrap wood. 1 or 2 upper

bout, 1 or 2 lower bout, 1 or 2 “C” bout,
1 neck block and 1 end block. If you
make two of each of the bout blocks,
they can be made twice as high and then
cut in half. This is where 3 bar clamps at
a minimum are needed, 6 if you want to
glue both upper and both lower ribs at
the same time.

Small Hammer - a light tack hammer works OK; I prefer a very

small brass hammer, 4-ounce maximum. Micro-Mark sells a good-
size brass one. ($8)

Flat File – 150mm long- cut 0 or 1(0 being courser), with one edge
a safety edge if available. Grobet makes high-quality ones ($25)

Knife *– several knives are needed, a minimum of ½” and ¼”. The ¼” needs to have a
long angle for doing “f” hole and bridge work, while
the ½” will be for more utility work. The Japanese
knives are wonderful because they fold the metal over
during the process; this creates a very strong blade
that is easy to sharpen. Some come with handles,
while for others handles will need to be made. ($20-30 ea.) The other ones that I like are
made by Hock.

Swiss blades are too soft. Some people like a blade with a curved bevel as this allows for
cutting in a very specific location especially for bridge feet and soundposts. That is fine for
 App1-8

old instruments that might be deformed, but not really necessary for new instruments and
also much harder to grind and sharpen.

Linings – Spruce, Bass or Willow ($10)

Adjustable Cutting Gauge (Lining Cutter) - ($25) purchase or make. I made mine
(right) using a small wooden wedge and a thumb screw to hold the blade into a square hole
cut through a rectangle of hardwood. A long slot is then cut for a block of wood to travel
closer and further from the blade. This should allow for adjustment from about 6-30mm
enabling it to be used for cello linings. A simple carriage bolt with a block of wood that is
flat on one side is used as the bearing surface. An Xacto
blade can be used, but I prefer something a little stiffer. One
can be made from an old hacksaw blade. You could also
make the gauge fit your narrowest knife blade, just
removing it from its handle when you need to cut linings.

Lining Gluing Strips - (make) heavy dense cardboard, like

from a picture mat, or slightly wider linings pieces.

Lining Clamps – about 40 spring clothespins and rubber

bands ($5), some 1” Pony C-clamps are useful but
not necessary ($3 ea.) There are also lightweight
plastic tubing clamps - aquarium/medical use that
some makers use and in 2018, International introduced a great metal version.

Sandpaper – 100, 150, and 220 grit Garnet or Aluminum Oxide, a few sheets
each ($10)

Top and Back Wood * - (Wide Range of Prices) - Top - Spruce, Back - Maple. Choose less
flamed Maple for a first instrument as it is easier to work. A one or two-piece back is your
choice. The Spruce is more important to the sound, so get a nice piece of aged split wood.
Always purchase this wood from a violin supply house, not a lumber yard.

Jack, Bench or Smoothing Plane * – 10” or longer, the longer the better since it will be
used for flattening the plates. ($100) Used wooden sole or metal sole ones are frequently
available online or at flea markets for much less but will require some work if you are up to
the task. If you do get a metal-soled one, I prefer ones that have a corrugated sole but it is
not necessary.

Jointer Plane – 20-26” - Stanley, Record or Wooden Sole ($150-300) also found used for
less online. I purchased a great used wooden one for $30 but it needed a fair amount of
work on the sole and the blade. I don't recommend using an electric jointer as they are not
accurate enough for our use. Unless the metal one's sole is perfectly flat and untwisted, I
prefer a wooden plane as it is easier to make true.

Long Bar Clamps – 12” (2) – Jorgenson ($15 ea.) frequently found at antique and flea
markets, furniture maker's pipe clamps also work well. If you get 2 of these and 4 - 6”
ones then you will have 6 clamps for the ribs. You may want to get 18" bar clamps as some
plate wood may be too wide for the 12" ones ($20 ea). Some makers simply notch the wood
at the ends and center and use 3 - 12" clamps if the wood is too wide. But if you purchase
 App1-9

pipe clamps, just go ahead and get them wide enough to do a cello, it is not much extra
since you purchase the threaded pipes at the hardware store to fit the clamp heads
purchased.

Marking Gauge – (make) For a simple homemade marking gauge, just drive a flat head
wood screw into a block of wood (should be a tight fit). Choose a screw with a very sharp
edge; this edge will leave a nice mark on the plate’s edge. The “thickness” can be adjusted
by turning the screw. It can also be driven into a
large board that is clamped to the bench where
the plate is then rotated against the screw. You
can also use the cutting gauge above, but put the
blade in backward or run it backward against the
plate so that it marks and does not cut a deep
line. A specific marking gauge of the same style
as the cutting gauge is also available if you
prefer.

Finger Planes *– ($30-70 ea.) You will need a minimum of 3 (25mm curved, 40mm
curved and 40mm flat-sole, all with both regular and toothed blades) If you can afford it,
get 4 sizes of curved adding in the 32mm and 48mm ones and a smaller flat-soled one as
well. Some brands don’t make the smaller flat-soled version. Finger planes made from
hardwood bodies can be made, but it is a huge amount of work, especially making the
blades. Finger Planes are available with Curved or Flat
bottoms and optional toothed blades for use on the
Maple. Some come with wedges to hold the blade in,
while others have a set screw in a metal blade holder. I
prefer the ones with set screw as they are easier to
adjust. In one design by Ibex, the planes are sort of
Whale shaped, these are the most comfortable to hold
but also the most expensive. The Lutz brand, pictured
above is the best for the price. One piece of advice, the
larger the finger plane the smoother the arch will be, but
the less specific control of the area you have.

Arching Platform – (make) Take a ¾” piece of plywood that is a little longer than the plate
length of a viola – 18”, by about 12” deep. Take four pieces of 1x4" lumber or 2 - 2x4"
pieces, also 18” long and screw/glue them to the long edges of the plywood sheet. Drill two
holes, ¾” – 1” in diameter, about 2" deep into the 2 1/4" thick frame, 6” apart and centered
on the 18” width. Set the holes 2” in from the edge (this will be the back edge of the arching
platform). Cut and insert two 4” long dowels corresponding to the diameter that you drilled,
place them into the drilled holes. The length of the dowels will ultimately be determined by
the height of the cradle that will hold the plate while you do the inside gouging. You can
also use different height dowels for different jobs, the cradle isn't needed for outside carving
only the inside work.
 App1-10

This jig will be clamped into the bench dog vise and used to hold the plates while rough
gouging. You can also cut some light grooves in
the dowels where they emerge from the
plywood so that the edge of the plate can slip
into them. I do not find this necessary. The gap
between the two 1 x 4’s is useful to hold the
plate down with a bar clamp. If you don’t have
a bench with a strong bench dog system, you
may also want to add a front lip that hangs
down to grip against the front of the bench.

You may also want to drill another hole in the

center of the board to put a dowel that only
emerges, when inserted, about 1/4". This can
be set into a shallow hole drilled into the center
of the bottom side of the top or back plate.
With the other dowels removed, this gives a way to lightly hold the plate while doing finger
planing and scraping so that you don't have to hold it down so tight.

Arching Gouge *– At least one. If you only get one, get one that is more curved as it is
easier to work in the “C” bouts – a 7 sweep 25mm
wide one works well. If you also get a flatter one,
something around a 5 sweep 25mm wide is good. If
you will be doing cellos get an even wider one. These
gouges should have either extra-long blades or extra-
long handles. ($75 ea.) Many places carry these, violin
houses and fine woodworking catalogs.

Pencil Marking Caliper – ($70) or make. One can be

purchased or a homemade version can easily be
made from a plywood frame, a pencil and a set
screw to adjust the height. Make the depth of the
“C” shape enough for at least half the instrument's
width. I like to use a large lead pencil, like a
carpenter's or sketch artist's style, a thin lead
pencil will break too easily.

Small Width Channel Gouge – Can be just one

of the small scroll gouges, some makers like to use
a flat sweep while others prefer a more curved
one. I made a flatter style one out of an old
medium sized file. I wanted a gouge that was both flat in sweep and thinner in material
than the standard scroll gouges, so that I could get it closer to the working surface. But I
usually like a more curved gouge.

Overhead Pin Router – This a great tool for doing edge thicknessing as well as channel
 App1-11

and purfling groove cutting. The best one uses an air compressor driven foot switch to raise
and lower the bit (different for each operation) into the wood. A pin (that you make
adjustable aftermarket) is set to the distance in from the edge. The violin's edge is pushed
against the pin while rotating the plate. I built my first one using an old drill press head to
hold the router and the table was big enough to allow for a
baseplate. Several companies used to make ones that don't
have a foot pedal. Directions for constructing an attachment
to a drill press are online - just search images for "overhead
pin router".

To me, a very important part of the design is to make it

adjustable by foot, as you need both hands available to hold
the plate, for safety purposes. Never try to cut too much
thickness at one time when doing the edge. It is much
better to do the rough edge thickness with the gouge and
then finalize the thickness with the pin router, but several
passes can be done on the edge with the router.

An attachment for a Dremel ($60) tool is also available

although it is just for the purfling. While using one of
these tools is very fast, you must have a steady hand,
and it is unforgiving if you make a mistake. When using
one of these power tools, you cannot go past where the
purfling joints at the corners, the rest must be finished
by hand. Another one that I have used is made for
attachment to a Foredom tool and is sold by Thomas
Croen Violins, also just for purfling.

Some makers use a thickness planing bit in a drill press to do the edge thicknessing. I have
not used one but I think it is basically an end mill bit (don't quote me on that). I don't know
if a router bit would work as they like to be used at much faster speeds than a drill press
can provide.

I have seen a homemade attachment for a drill press that will hold a router, I wish I had
found these plans when I was first developing mine from
scratch, before I ever knew that overhead pin routers were
even made.

Thickness Marking Pin (Needle) Punch – It needs to

have a pin sharpened to a thin fine point. Mine uses an
inlay tracing scribe that is held in place by a set screw,
purchased at Stewart MacDonald. The height is adjusted
by a lower screw with a smooth surface.
 App1-12

Body (Closing) Clamps – For making instruments, a set of 6 Garland Clamps ($100) can
be purchased that cover the whole instrument. Since everything
is starting out very flat, these work well. If you will also be
repairing old instruments, a set of individual clamps ($4 ea.)
can be used and will be needed since edges are often not so
flat. Any of these clamps can be
made or purchased. The individual
spool or spindle clamps can be
made from 4" x 1/4-20 carriage
bolts (these will work for viola too), wing or thumb nuts,
washers, 1" dowels or wooden toy wheels (they already have
the holes in them) and some cork. Fancy ones with 3 different
shapes for the different areas of the instrument are also
available through violin houses. These are especially good for
valuable antique instruments as the special design of these
puts the pressure on top of the purfling and not on the raised edge.

Cradle – (make) from a soft wood such as Pine, Willow, Basswood or Deal. It is the inverse
of the outside arching of the instrument and used to hold the plate upside down while
gouging and other operations. Some makers just
use an outline shape which is easy to saw out of
plywood. The outside edge should be about the
same as the instrument that you are working on. I
have also made one out of particle board, but that
can be hard on the gouge and plane blades while
scooping out the material. There are commercial
ones available that are made from cork, they are nice but are expensive (around $100). If
you are going to also use the cradle for an instrument with the neck installed, like when
doing repairs, you should make it 1 1/2" thick so the scroll doesn't hit the bench.

Purfling Marker *– ($45) It is made from a post that runs along the edge of the plate and
a handle that has a groove like the marking gauge that can hold
two blades. The blades should be stiff enough not to bend in the
wood when changing from summer to winter grain (Xacto blades
are not sturdy enough). The blades need to be adjustable both for
distance from the post and apart from each other by means of
shims placed between them to adjust for different width purfling
from different manufacturers.

Purfling – 3 lengths needed ($5-10) Wood or Fiber styles available. Fiber is easier to bend
but will have a glossier look under varnish.

Ivory Soap - Bar

Purfling Knife – You can use an Xacto style knife. If you make a knife, make it from a stiff
blade, like an old straight razor - lots of grinding but well worth the work. The end that cuts
into the wood needs to be thin, but the stiffer the better.
 App1-13

Purfling Picker – ($20) It can be purchased (top), or made (bottom). If you make one, be
sure to make the portion above the chisel section a little
thinner so that as you go around the curves it does not
rub on the top of the channel. It should also be offset
like this one, which is hard to make but I made one
from a thin file.

Pencil Divider – ($12) or two point divider. The pencil

divider will need to be one that the metal tip and pencil
tip can be closed to within 2mm or less. A second two-
point divider is useful if one leg is shortened. These dividers are frequently
found in antique stores. Not too large, like 4-6" legs.

Scrapers – Several shapes are useful. Scrapers can be made in almost any
shape you desire. They are made from
spring steel; a thinner scraper is better in
producing a smoother transition as thick
scrapers can more easily produce flat spots.
These scrapers, unlike the cabinet scraper
used for the ribs, works best if a 45° angle
bevel (like on a plane or chisel blade) is ground into the
edge (although those are at a lesser angle). As with the
cabinet scraper, and after sharpening to a razor edge, a
burnisher is used to bend over the edge into a hook. This
time, unlike with the rib scraper, almost no pressure is used since the edge is ground and
sharpened. Pictured are some basic scraper shapes that I use for the plates. Good
thicknesses for these scrapers are in the .015 - .020 range. A thinner one is useful for the
final scraping of the Spruce. Precision makes a good assortment set of spring steel.

“f” Hole Template – ($5) If you have a good paper pattern, one can be made using a
piece of plastic from a notebook or a thin "for sale" sign.

Fret Saw (Jeweler's Saw) – deep throat ($20) Blades should be fine – like these
available from Micro Mark - #60496 .22 x .010, 28-32 teeth per
inch (tpi.). A pkg. of 12 jewelers saw
blades ($9) If too fine or rough it will
be hard to saw.

V Cutting (Fret Saw) Board – This

is simply a piece of plywood with a 4-
6 inch “v” notch cut in from one edge.
In can be screwed to a block that is
clamped into the bench vise

"f" Hole – Hole Cutter - They can be purchased in a set from 5.5-10mm in diameter, but
they are expensive to purchase. However, they can be made by sharpening the inside of the
appropriate size steel tubing and then hardening the steel. I made mine from soft brake
line tubing. As you can see, they have two cutting edges that have an arch shape - not
 App1-14

pointed on the ends. They are ground on the inside leaving the outside shape smooth and
the same diameter for the entire length. My first teacher made
one from an old bullet shell casing, it was the full rounded shape,
again ground on the interior and mounted in a handle with no
center guide pin. There was a hole through the handle to push
out the plug.

"f" Hole Fluting Gouge – make

from an old file, an appropriate one
may also come with the scroll gouge
set. It is just a very flat gouge -
about a 3 sweep.

Deep Throat Clamps – 5-6 needed, can be purchased (metal

deep throat) or made from wood. The Adjustable Clamp
Company makes good metal ones. They need to be at least 3 ½” deep x 1 ¼” high ($12 ea)
Wooden bassbar clamps made from plywood or
hardwood need to have the wide opening 2-5mm
wider than the thickness of the top + the
thickness of the bar in that spot + the thickness
of the protective piece of plastic that rests on the
outside of the top during clamping.

Plastic Protection for Bar – a 1’ x 12” strip from the template plastic will work well. You
can also use a piece of the stiff compressed cardboard that comes in shirts or an old piece
of picture matting. Do not use regular cardboard as it compresses too much and then the
clamp can mar the wood surface through it.

Saddle - Ebony

Neck (Scroll) Block – Maple with a similar flame to the ribs and back ($12-60)

Scroll (Neck) Template - again made from plastic sign material

Pin Awl or Scribe - sharp thin pointer, the point will need to fit in the holes in the
template, but don’t go so deep that it will be hard to remove. ($7) A large diameter sewing
needle in a handle will also work. The ones I describe in the bow rehair section work well.

Vernier (Scroll) Caliper * - Choose a metal one over a plastic one. Choose one that
measures in mm's and inches. I like the
manual vs. the digital (you don't have to
change batteries). The widest space you will be
measuring will be the width of a scroll, so use
that measurement to guide you, but one that
measures to 6"/15cm is sufficient. ($35-45)

Scroll Gouges * - a few good choices – Dastra Professional Screw brand - Gouges Sweep
#7 – 9, 14, 16, 20, 22, 25, 30; Sweep #4 – 12, 25. Dastra 9 pc. set #6 sweep 6, 8, 10,
13, 16, 20, 23, 27, 31($500) (some flatter sweep ones are also useful). A 5-piece set is also
available for around $250. Stubai brand - 13-piece scroll gouge set for violin and cello.
 App1-15

Sweep #1- 8; #4-14, 30; #6-6, #7-8, 10, 12, 16, 20, 25, 30, 35; #9-4. ($700) Lutz
brand laminated set looks promising -#1-8, 12, 25 chisels, #8-6,
8 gouge, #6-9, 11, 13, 15, 17, 22, 25, 27, 30mm gouge ($325)

By far the cheapest set (pictured) is a Japanese set of 6 that is

available on the internet for around $85, but the steel is thick
which makes it harder to get into the small areas of the scroll and
they are ground straight across. I currently use this set, although
harder to use because of the limited sizes, it does work. I
recommend regrinding the ends of the smallest two sizes thinner
to get into the small curve of the scroll.

Small Diameter In-cannel Round Gouge – for cutting the pegbox out, a ¼” gouge with a
very rounded tip so that when turning it around it will make a good circle. I prefer using a
drill press for this operation, but great care must be taken so that you won't go too deep.

Fingerboard – Ebony, "A" quality ($25)

Fingerboard Holding Jig - make

Fingerboard Template – make

Sliding Bevel – these can often be found used ($10)

Fingerboard Sanding Block - make or purchase -

International Violin ($20)

Protractor – ($1)

Neck Angle Gauge – can be purchased or made with a wood stick and a metal pin (finish
nail) or using a second piece of wood set
perpendicular to the long part of the stick
which is just short of the string length. A
commercial set of gauges can be found for
4/4 violin, viola and cello, but these are easy to make.

Oil Varnish – Clear and colored – most violin supply houses carry an oil varnish or you can
use Tru-Oil ($12) available at gun stores and some retailers like Wal-Mart, Amazon or
Woodcraft. Or if you choose, Violin Varnish 2 oz of each color and 4 oz clear ($6 ea.) I
currently use a combination of Tru-Oil and a very nice varnish by Holtier, it is expensive but
a little goes far because it is very concentrated. (One bottle of each, TruOil and Holtier, can
do 3-5 violins.)

UV Cabinet – a box made from plywood with UV bulbs and an exhaust fan to keep the
temperature down. If you will be making cellos, make it big enough for that. A pressure
safety switch that turns off the bulbs if the cabinet is opened is a good feature to add. Paint
the inside white or line it with aluminum foil so that the light is reflected rather than
absorbed. A mirror ball motor mounted to a rotating base could be used so that no spots
are in shadow. Bulbs run $10 and up, you should use a minimum of 3 if the instrument is
not rotated. Any spectrum A, B or C can be used and there is debate as to which does the
 App1-16

best job. A standard hardware store “hippie” black light bulb (UV-A) will do the job, but it is
probably not as effective as a UV-C Germicidal bulb. Bulbs that are sold for Reptile or
Tanning use are acceptable. Any will do a better job compared to nothing and are quicker
and safer than putting the instrument in direct sunlight unless you are living in a very clean
environment with a protected space. Stradivari hung his instruments in an open sided tower
at the top of his house.

Shellac – Bulls Eye Orange or make yours from flakes or button lac dissolved in alcohol.

Varnish Brushes – I prefer red sable hair brushes but any extra soft natural bristle brush
will work, especially on oil varnish since it self-levels somewhat. A 1” brush and a small
round brush are needed. ($35)

Artist's Oil Colors – see book text for examples, transparent colors are a must. ($14 ea.)
TransTint also is a great color.

Tripoli – 2oz. ($3) also known as Rottenstone

Thick Felt – from an old thick felt hat or a piece of porous unfinished leather

Oil of Spike Lavender – additive to shellac or thinner for oil varnish.

Pegs – Boxwood, Rosewood or Ebony. Get high-quality ones so that there will be less grain
issues and they will be properly dried and true in shape.

Peg Shaver *– 3 or 5-hole version. An adjustable one will also work but are a little harder
to get the hang of and good ones are even more expensive. ($150) I prefer the 5 hole one
by Herdim that will work for ¾ violin up through the viola. The taper on both of these needs
to be the same, typically a ratio of 1:30 or 1:25 for cello. The smallest hole should have a
small end of no bigger than 6.5mm. Once you get the shaver, it must be checked to see if
the blades have been properly set to the same taper as the reamer. The blades’ sharpness
is what would be considered on the dull side as it scrapes rather than cuts the peg. If you
do need to sharpen it, do not try to make a knife edge and be sure to keep the flat edge
very straight as it will be impossible to cut a peg properly if there are any waves down along
the length. Before removing the blade to sharpen it, measure the distance that it sticks out
on both ends so that you can replace it to the same location.
An adjustable version is available for difficult minor peg
adjustments.

Peg Reamer *– The highest quality ones are the spiral

Titanium coated, but they are also the most expensive. A
standard one is acceptable and will last many years if taken
care of properly. ($50) If you are just going to make violins
and not violas or do repairs, then the reamer designed for
small size violins will work just fine. Because it has a smaller end, a smaller starting hole
can be used and thus give you more room to work if you need to alter the angle of the peg
through the pegbox. Hopefully, the initially drilled holes in the neck block were accurate and
very little adjustment will be necessary.

If kept clean and not banged around into other tools, a reamer can last a very long
 App1-17

time, especially when used on new instruments. Sharpening a reamer is not very practical
or effective. It is best to put the reamer in some kind of protective sleeve when not being
used.

Needle Files – set ($15) or individual rat tail and triangular. ($10) You can also get a set
made with diamond dust, these cut very nicely.

Nut - Ebony

End Pin Holder - Made from a pipe or by drilling a hole the size of the end button in the
end of a wooden dowel or block of wood. Then using a saw, cut a groove down the center of
the dowel about 2” long. Drill a smaller hole at right angles across the groove and insert a
bolt with a washer and wing nut.

The end of the button can be placed into the hole and the wing nut tightened to grip the
pin. Make sure that the hole for the button is just deep
enough to allow the head to go in and leave access to the
entire shaft. If you make the hole slightly larger, a thin
strip of leather can be glued inside the whole for more
grip, but this does require a little more planning. More
tension can be made by making the groove wider and
then being able to tighten the bolt more. One can also be
purchased ($30)

Soundpost Wood – Straight grained Spruce

Soundpost Measurer – ($15)

Inspection Light – ($30) It needs to have a small enough light that will fit within the lower
eye of the “f” hole. Bend-a-Light is a good brand.

Inspection Mirror – ($15) dental style mirror with a thin shaft that will easily fit
inside the “f” hole. The ones with an adjustable head are too fat to fit in the "f" hole.

Soundpost Setter *– S-shaped, made from hard steel. ($20) The best setters are
the “S” shaped ones but not the cheap ones as they are
made from too soft a material. A proper setter will have a
more abrupt bend than the commercial cheap ones have
and will need the point end ground to a small flat, thin
edge. It should be able to be stuck into the post easily
but far enough in to be tight and not leave a big hole.
The thin shafts near the ends should be rounded so that
they do not damage the “f” holes. Heat shrink tubing or
the brushed-on rubber can be applied to the shaft for
protection. There is a scissor style setter, but it is a low-
quality thing and won’t insert the post anyway. It is often
used by people just trying to shove their own post around
with no concept of what they are doing.

Soundpost Retrieval Tool ($10) I made one from 2 pieces of narrow steel, with a small
 App1-18

bend near the tip, they are then held together in a piece of tubing.

Bridge – Aubert #7 or similar, be sure to get a few as you are likely to mess up once or
twice.

Bridge Holding Device – as shown or an adjustable one can be made out of a block of
wood with two wedge shaped pieces that are attached to
it at an angle the same as the sides of the bridge. Both
will need to be thinned down to below the finished bridge
thickness. One is permanently attached and the second
one is attached with a pin so that it can rotate to get a
tighter fit and work on different width bridges. A simple
non-adjustable one is pictured.

Bridge Template - a plastic or metal guide of the curve of the top of the bridge, these can
be made or purchased. Herdim makes one that also has string heights, string spacings for
the nut and bridge as well as the fingerboard curve. Available in 4 sizes ($15)

Bridge Pin Gauge - take a 12” piece of wood that is very flat, something similar in size to

the stilts (about ½” x ½”). Insert a sharpened small diameter nail or large sewing needle
into each end. (For Violin - one at 3.5mm high and the other at 5.5mm). It's easiest to
insert them in the ends, first allowing for adjustment, then plane down the sides until the
desired heights are obtained.

Handmade Rasp – Herdim makes a great one available from Howard

Core. ($10) Curved ones are also available and can be very useful in
neck carving. For bridge work I use a number 5.

String Lifter – very useful when doing final bridge adjustment for
tonal reasons as it allows for leaving the strings up to tension ($20)

Adjustable Mensur Divider - (make) Made with a ratio of 2:3 for

quick reference. Make from two strips of
Maple, pinned so that one length is 2 parts to
the other's 3 parts. Works also when setting a
new neck and is often easier to quickly use
than a ruler.

Chinrest Key - ($3) a

small version is supplied
with the chinrest, but one like this is very nice to have if you will be
installing a fair amount of chinrests.
 App1-19

Alphabetical Index of Tools and Materials

"f" Hole Fluting Gouge - 14

Adjustable Cutting Gauge - 8 “f" Hole Knife - 7
Adjustable Form - 2 "f" Hole Template - 13
Adjustable Mensur Divider - 18 Felt - 16
Arching Gouge - 10 File, Block - Crossing (Cross)- 5
Arching Platform - 9 File, Flat - 7
Artist's Oil Colors - 16 File, Needle - 17
Back Saw - 7 File, Rasp (Handmade) - 18
Back Wood- 8 File, Standard Wood - 4
Band Saw - 3 Finger Planes - 9
Bar Clamp - 6 Fingerboard - 15
Bench - 1 Fingerboard Holding Jig - 15
Bench Plane - 8 Fingerboard Sanding Block - 15
Bending Iron Strap - 7 Flat File - 7
Bevel, Sliding - 15 Fluting Gouge - 14
Block Gouge - 5 Form - 2
Block Plane - 4 Fret Saw - 13
Block Wood - 4 Gauge, Adjustable Cutting- 8
Body Clamps - 12 Gauge, Bridge Pin - 18
Brass Hammer - 7 Gauge, Marking - 9
Bridge - 18 Gauge, Mensur - 18
Bridge Holding Device - 18 Gauge, Neck Angle - 15
Bridge Pin Gauge - 18 Glue, Hide - 4
Bridge Template - 18 Glue Brush - 4
Brush, Glue - 4 Glue Pot - 4
Brushes, Varnish - 16 Gouge, Arching - 10
Burnisher - 6 Gouge, Block - 5
Caliper, Pencil - 10 Gouge, Channel - 10
Caliper, Thickness - 6 Gouge, Fluting - 14
Chinrest Key - 18 Gouge, In-cannel - 5
Chisel – ¾” or 1” - 5 Gouge, Scroll - 14
Clamping Blocks - 7 Graduation Thickness Caliper - 6
Clamps, Bar - 6 Grinder - 1
Clamps, Bar (Long) - 9 Grinder Tool Rest - 2
Clamps, Body - 12 Guide, Mensur - 18
Clamps, Deep Throat - 14 Hammer, Claw - 4
Clamps, Lining - 8 Hammer, Small (Brass, Tack) - 7
Claw Hammer - 4 Handmade Rasp - 18
Closing (Body, Spindle) Clamps - 12 Hide Glue - 4
Clothespins - 8 Hobby Knife - 5
Coping Saw - 4 In-cannel Block Gouge - 5
Cradle - 12 Inspection Light - 17
Crossing File - 5 Inspection Mirror - 17
Deep Throat Clamps - 14 Ivory Soap - 12
Divider, Even Leg - 3 Jack Plane - 8
Dremel Tool - 11 Japanese Saw - 4
Drill Press - 3 Jeweler's Saw - 13
End Pin Holder - 17 Jointer Plane - 8
Engineer’s Square - 4 Knife, "f" Hole - 7
Even Leg Divider - 3 Knife, General (Utility) - 7
"f" Hole Cutter - 13 Knife, Hobby (Xacto) - 5
 App1-20

Knife, Purfling - 12 Saw, Coping - 4

Knife for Splitting - 4 Saw, Fret - 13
Leather Strop - 2 Saw, Fret Board - 13
Linings - 8 Saw, Japanese - 4
Lining Clamps - 8 Saw, Jeweler's - 13
Lining Cutter - 8 Scraper - 6, 13
Lining Gluing Strips - 8 Scraper Burnisher - 6
Long Bar Clamps - 9 Scribe - 14
Marble - 5 Scroll - 14
Marking Gauge - 9 Scroll Caliper - 14
Mensur Guide - 18 Scroll Gouges - 14
Mineral Oil - 6 Scroll Template -14
Neck Angle Gauge - 15 Sharpening Stones - 2
Neck Block - 14 Shaver - 16
Neck Template - 14 Shellac - 16
Needle Files - 17 Shooting Board - 6
Needle Punch - 11 Sliding Bevel - 15
Nut - 17 Small Hammer - 7
Oil Colors - 16 Small In-cannel Gouge - 15
Oil of Spike Lavender - 16 Small Width Channel Gouge - 10
Oil Varnish -15 Smoothing Plane - 8
Overhead Pin Router - 11 Soap - 12
Peg Reamer - 16 Soundpost Measurer - 17
Peg Shaver - 16 Soundpost Retrieval Tool - 17
Pegs - 16 Soundpost Setter - 17
Pencil Divider - 13 Soundpost Wood - 17
Pencil Marking Caliper - 10 Spatula - 4
Picker, Purfling - 13 Spike Lavender - 16
Pin Awl - 14 Spindle Clamps - 12
Pin Punch - 11 Splitting Knife - 4
Pin Router - 11 Square, Engineer's - 4
Pins, Registration - 3 Stilts - 5
Plane, Block - 4 Straight Edge - 5
Plane, Finger - 9 String Lifter - 18
Plane, Jack - 8 Task Chair - 1
Plane, Jointer - 8 Task Light - 1
Plane, Smoothing - 8 Template, Bridge - 18
Plastic Gluing Protection for Bar - 14 Template, “f" Hole - 13
Protractor -15 Template, Fingerboard - 15
Purfling - 12 Template, Instrument (Body) - 2
Purfling Knife - 12 Template, Neck - 14
Purfling Marker - 12 Thick Felt - 16
Purfling Picker - 13 Thickness Caliper - 6
Reamer - 16 Thickness Marking Pin Punch - 11
Registration Pins - 3 Tool Rest, Grinder - 2
Rib - 5 Toothed Blade - 6
Rottenstone - 16 Top Wood - 8
Ruler - 4 Tripoli - 16
Saddle - 14 UV Cabinet - 15
Sanding Block, Fingerboard - 15 V Cutting Board - 13
Sandpaper - 8 Varnish, Oil - 15
Saw, Back - 7 Varnish Brushes - 16
Saw, Band - 3 Veritas Tool Rest - 2
 App1-21

Vernier Caliper - 14
Wood Stilts - 5
Wood, Back - 8
Wood, Block - 4
Wood, Fingerboard - 15
Wood, Linings - 8
Wood, Neck - 14
Wood, Nut - 17
Wood, Peg - 16
Wood, Purfling - 12
Wood, Rib - 5
Wood, Saddle - 14
Wood, Soundpost - 17
Wood, Top - 8
Workbench - 1
Xacto (Hobby) Knife - 5
Appendix 2 -Suppliers of Tools and Materials

Violin Tools and Materials Suppliers

Diefenbacher Tools – online luthier and other edge tools

[Link]

Dictum Tools

[Link]

Howard Core & Co. – online retailer of violin maker tools and supplies

[Link]

International Violin Co. – online retailer of violin maker tools and supplies

[Link]

Luthiers Mercantile - mostly for guitar but some violins tools

[Link]

Orcas Island Tonewoods – high-quality violin wood

[Link]

Steward MacDonald – mostly for guitar stuff but some violin tools and supplies
[Link]

General Woodworking Tools and Materials Suppliers

Dastra USA Tools - Frank Mittermeier – scroll gouges and other edge tools

http:/[Link]/

Dictum – tools

https:/[Link]/en/

Garrett Wade Tools – online retailer of tools

[Link]

Grizzly Tools – online general tools, especially power tools

[Link]

Harbor Freight – general tools

[Link]

Highland Hardware – online retailer of tools

[Link]
Japan Woodworker – online retailer of tools

http:/[Link]/

Kremer Pigments – materials for varnish making

[Link]

Micro Mark – small hand tools, fret saw blades, hobby saw, thin plywood and basswood

[Link]

MSC Direct - general tools and supplies

http:/[Link]/

Woodcraft – online and stores. Sells general wood, woodworking tools and
supplies

[Link]

Wood Finishing Enterprises - materials for varnish making

http:/[Link]/[Link]
Appendix 3 - Measurements for Violin Makers

VIOLIN VIOLA CELLO BASS

Measurements 1/4 1/2 3/4 7/8 4/4 SM MD LG 1/2 3/4 7/8 4/4 3/4
are in mm

Body length 285 320 335 345 355 390 405- Over 655 690 720 750 1130
410 410

Body width

upper bout 132 145 156 162 168 185 193 195 290 315 326 342 530

middle bout 91 100 105 109 112 127 130 135 200 210 225 238 380

lower bout 162 182 195 200 208 228 238 244 375 400 413 432 650

Scroll length 85 94 101 104 108 122 125 128 185 190 194 204

Rib height 26 28 29 29.5 30 36 38 38- 100 105 114 120 220

average 40

Rib thickness 1 1 1 1.1 1.2 1.2 1.3 1.3- 1.5 1.6 1.6 1.7 2.5
1.4

Lining thickness 1.2 1.5 1.5 1.8 1.8 2 2 2 2 2 2.5 2.5 4.5

Lining width 4 5 6 7 8 8 8 8 14 14 16 16 25

Blocks

top width 41 44 47 48 50 52 53 53 86 88 90 150

top thickness 13 13 14 14 15 16 17 18 26 28 30

bottom width 36 39 42 43 45 46 48 50 82 84 85 120

bottom 12 12 13 13 14 15 28 29 30
thickness

upper width 14 14 15 16 18 22 22 30

lower width 16 16 17 18 22 24 24 40

Arching height

back 13.2 13.8 14.2 15.0 15 16 17 24 25 26 28 44

front 13.7 14.3 14.9 15.5 16 17 18 25 26 27 29 48

Back thickness
(1)

Center at 3.5 3.9 4.2 4.5 4 4.8 5.5 6 6.5 6.8 7 12

soundpost

4 flanks 2 2 2.2 2.3 2.4 2.7 3 2.8 3 3.3 3.5 5

at fluting 1.8 2 2.1 2.5 2 2.3 2.5 2.6 2.8 3 3.5 5.5

center of bouts 2 2.2 2.3 2.7 2.4 2.6 3 3 3.2 3.5 3.6 8

edge thickness 3.1 3.2 3.5 3.7 3.8 3.9 4 4 4.7 4.8 5 5 7.5

1
Top thickness
(1)

center at 2.5 2.5 2.8 2.9 3 3.1 3.2 3.5 3.8 4.2 4.5 4.7 8
soundpost

flanks 2.2 2.2 2.4 2.5 2.5 2.6 3 2.8 3.1 3.4 3.9 5

at fluting 2 2 2.1 2.3 2.5 2.3 2.4 2.8 2.7 2.9 3.1 3.9 6

center of bouts 2.3 2.4 2.4 2.6 2.7 2.5 2.6 3 3 3.2 3.5 4 7

edge thickness 3.2 3.3 3.5 3.9 4 3.9 4 4.2 4.9 5 5.3 5.5 7.5

Overhang 2.2 2.3 2.3 2.3 2.5 2.5 3 3 3.5

Purfling

Distance from 3 3.1 3.3 3.5 3.5-4 3.5 4 4-4.5 4.3 4.4 4.5 5-6 7.5
edge

Purfling 1.1 1.1 1.2 1.3 1.3 1.2 1.3 1.4 1.4 1.4 1.5 1.6 2.5
thickness

"f" holes

length 62 65- 68- 71- 73- 78 79 80 120 124 128 130

68 71 73 75

between top 35 36 38 41 40- 46- 48- 49- 86 88 95 98 170

holes 42 49 50 52

bottom hole to 10 10 11 12 12- 13 13 15- 22 24 26 28 50

edge 16 19

Mensur Ratio 2:3 7:10

Stop length 159 171 183 189 195 219 225 225- 350 370 390 405 625
230

Bassbar

length approx. 215 240 255 262 270 300 315 325 480 535 550 580 850

thickness approx. 4 4 4.5 5.5 6 6 6.5 7 8.5 9 10 11 20

height middle 8 9 10 11 12 13 14 14 21 23 23.5 24 45

approx.

Neck/Scroll
Pg. 24.4

length of neck 106 114 122 126 130 146 150 150- 245 259 273 280 436
Block 154

eye width – 34 36 38 40 42 44 46 46- 66- 85

Widest (C) 48 68

mortise end 36 38
width-minimum

top of Scroll (A) 9.6 12 13 14 20 25-27

width at first 22 24 25.5 27 28 29 29.5 30 40 42 44 46 55-58

turn-throat (D)

width 2nd turn (B) 18.5 24 26

Pegbox Pg.24.4

2
back at throat (F) 16 17 18.5 20 22 22 23 24 32 34 54

front at throat (E) 14 15 16.5 18 20 20 21 22 30 32 50

front at widest (G) 22 23 24 24.5 25 25.5 26 26.5 42 44 46 64

back at widest (H) 24 25 26 26.5 27 27.2 28 28.5 44 46 48 66

width at nut (J) 20 21.5 22.5 23 23.5 25- 25- 26- 39 41 43 32/4 40/65
26 27 30 5

width at back of 22 23.5 24.5 25 26 27- 26- 28- 30/4

nut (I) 28 39 32 8

wall thickness – 4 4.5-5 5-5.5 7.5-9 13-15

top (K, L)

wall thickness – 6 7-8 8-9 10- 18

bottom (K, M) 12

Pegs on Center

outside pair 55 62

inside pair 25 30

Fingerboard

radius 30 32 35 38 39.5 37 37 37 70 72

Length (2) 230 255 263 270 295 300 300 305- 510 550 570 580
315

width at nut 20 21 22 22.5 23.5 23.5 24 24.5 29 30 31 32 42-45

width at bridge 35 38 40 41.5 43.5 44 46 48 59 60 61 63 95-

110

edge thickness 4 4.5 5 5 5.5 6 6 6.5 6 7 7 8 11

from end to top 16.5 17 19.5 20 21 24 25 26 65

Neck Elevation at 23 25 26 27- 31.5 32 32.5 79.5 158

bridge 28

String angle 156° 156° 157° 157° 158° 157 157 157 153
over bridge

Neck elevation 4.5 4.5 5 5 5.5-6 6-7 6.5 6.5-7 17 18 19 20 30

(3) (overstand)

Neck root angle 87° 87° 87° 87° 87° 87° 87° 87° 83° 80°

Button

width 19 20 20 20- 22 22.5 23 25 26 28 29 42

22

Height from rib 13 14 15 16 16 17 17 20 21 21.5 22 30

Neck thickness 15.5 16.5 17.5 18.5 19.5 20 20 21 33 50

at center

Saddle length 32 33 34 36 38 38 38 50 52 54 55 95

String spacing

at nut 14 15 15.5 16.2 16.5 17 17.5 19.5 21 22 23 37

5

3
 at bridge 29 31 32 33 34 35 36 37 41.2 43.3 45 47 85

Distance from 9 10 10.5 11 11.5 12 12

peg box to first
peg knurl

Soundpost 4 4.5 5.5 6 6 6 6.5 7 8 9 10 11 18

thickness

String length 267 287 307 319 328 370 278 380- 602 637 672 695 1070
390
(4)

Bridge

feet width 32 37 38 41 42 45 46 47- 90 155

48

thickness 4.5 5 5 5 11 20

height approx. 30 30 32 32 33 38 39 40 92 157

Bridge Curve 147- 146°

149°

String height at
f.b. end

high-string 3.25 3-4 5-6 9

low-string 5.5 4.5-6 8-9 12

Notes:

1. The thickness measurements given are not to be followed as gospel, more on this in
the chapter. Adjustments are made with tap tones, but the clarity of the tone is more
important than the actual pitch achieved.
2. The highest note playable on a violin fingerboard is A4 and on the viola is D3. To find
the average length fingerboard add neck length + mortise x 2
3. The height of the mortise (overstand) on a violin is the same on both sides. For a viola
and cello, this height is slightly higher on the A side.
4. The free vibrating length of an open string is equal to the neck length (distance from
the nut to the top edge at the mortise) + the stop length (the distance from the top edge
to the "f" notches) + 3-4mm compensation for the string angle at the bridge. Violas add
4-5mm and cellos add 10mm.

4
Appendix 4 - Instrument and Arching Patterns

Patterns - All Stradivari Model

Due to different printer settings, these may printout

the wrong size on your printer. Adjust the size, if
necessary, using the resize or zoom feature in your
software so that the correct printed version is as
stated in the measurements noted in BOLD. It may
only need to be adjusted 1-2% in either direction to
correct. However, I would highly recommend purchasing
your patterns for your first instrument.

"f" Pattern - 71-75mm point to point. Different

makers used different measurements. I typically use
a measurement of 72-73.

Neck Pattern - finished distance from the nut to

the end of the mortise is 136mm, the pattern has
a little extra wood at the heel.
Rib Outline Pattern

The distance from end to end is 348.5mm

(356mm body length minus the edge overhang
and rib thickness). The pattern displayed is
purposely shorter because it wouldn't be able to
print anyway in full size on a standard 8 1/2" x
11" paper. It can be enlarged and printed on
two pages and then cut and glued onto your
pattern material. If you have the ability to print
on large format paper, just enlarge to the proper
size. The extra tab at the center line is to allow
for the centering pins, DO NOT CUT ALONG THIS
LINE. I strongly recommend the beginner
purchase these patterns.
Arching Template Patterns

I don't use these but I have provided information on them for those that would like to. A
few different sets can be purchased from International ($20-30)

The arching templates, when made, will look like those below. You will need to print them out
to the appropriate size. Let's say that the upper bout width will be 168mm-print to that
dimension so that you should only need to adjust them by 1-2% in either direction.

The patterns on the next page on the right are for the top and the ones to the left are for the
back. The two down the center
are for the lengthwise arch
again, right is the top and left is
the back. If you want to do full
templates like the ones in the
photo, just copy the pattern
twice. Once printed out, glue
the strips down onto wood or
stiff plastic template material;
model makers plywood also
works as well as metal, but is
much harder to work with. (For these I used plastic from the top of a storage bin). Space
them far enough apart and cut them out so that the top curve of the pattern is at the bottom
edge of your template. See the dotted line in the diagram, that would be the top of the
template with the arch at the bottom. For the full-length template, you will need to line up
the two diagrams at the bridge line, also matching up the width of the guide. It may be
necessary to add a stiffening bar along the top if the material used is too weak and the
template sags.

The arching guides in the photo above, correspond to the ones in the patterns
below. The pattern is from an old Roth poster that I traced, but these are what you
might find in a printed pattern elsewhere that would need to be converted to the
Arching Guides. The Strad Magazine publishes some very nice full size posters.

The maximum width of the upper bout

The width at the upper corners
The narrowest part of the "C" bout
The width at the lower corners
The maximum width of the lower bout
The full length of the body
Scrapers

These are my scrapers, actual size, that work very well as general scrapers for the violin
and viola. The tighter radius curves are great for the transition from body to channel and
avoid damaging the outer rim. They are made from blue spring steel. It is best to make two
each, one set out of thinner more flexible steel for the Spruce, the thicker for the Maple. The
bottom three are good for scroll work.
Appendix 5 - General File information

Provided courtesy of Grainger INC.

For a great place to get files sharpened, contact Boggs Tool and Sharpening -
[Link]
About the Author

David Lashof started playing the piano at age 9 and switched to the violin at 11. He
quickly progressed and at age 13 was accepted to the prestigious, internationally renowned
Montgomery County Youth Orchestra (now called the Maryland Classic Youth Orchestras),
during two of the six years he was involved in the group, he was concertmaster of one of
the orchestras. At age 15, he met a violin maker named Willis Manning Gault and studied
with him for the next two summers making a violin and a viola d’amore. Mr. Gault was an
amateur maker, that just loved making and teaching. He taught more than 300 people how
to make instruments for themselves to enjoy, four of his students went on to become
professional violin makers. Mr. Gault also had the distinction of being the owner of the
oldest known example of the modern violin design, a 1550’s Andreas Amati viola, now on
display at the National Music Museum in Vermillion SD.

During the summer of 1977, Mr. Lashof was accepted into the Chicago School of
Violin Making along with 3 other new students from around the US. He spent the next 3 ½
years learning the fine art of violin making under the tutelage of Master violin maker Tschu
Ho Lee. During the time in Chicago, he was a student teacher at the school and also taught
Mr. Lee’s cousin who came from South Korea for 1 year to get an emersion course. Along
with making instruments, a total of 9 including a cello (4 more than the required 5 violins),
and teaching, he was the school's supply manager, getting all of the supplies and tools for
the students and school. This gave him access to violin and tool suppliers all over the
world, making the transition from student to shop owner easy after graduation. He also
worked for Quinlan and Fabish musical instruments as their string repairman and also as the
first violin repairman for the then fledgling William Harris Lee Company.

He graduated in 1980 and opened a shop in his home in Gaithersburg MD where he

made and repaired instruments full-time. During the first two-year period, he produced
more than 1 instrument per month, selling them through established shops and also
privately. In 1983, he was invited to join Weaver’s Violins in Bethesda MD, a firm that was
established in the late 1800’s. Along with working full-time at Weaver’s as the cello and
bass specialist, he also made instruments on his own selling them all through Weaver’s
Violins.

In addition to making instruments, Mr. Lashof became the string repairman for the
local county school district, the 17th largest in the country. The district has over 200 schools,
with string programs at most. He began to build a large customer base, due to contacts at
Weaver’s and through the string specialists that worked for the county schools and their
contacts. In 1987, in order to have unrestricted access to his customers and because his
private business had grown so big, he left Weaver’s and opened his own commercial violin
shop in Gaithersburg MD.

During the next 20 years he continued to make, repair and restore violins, violas
cellos and basses along with a few other oddball instruments. In total he has made over
165 instruments, some of which are used professionally. In 2007, due to health problems,
which greatly limited his ability to work full-time, he retired and sold the business to two of
his long-term employees. He continues to stay in touch with the violin business, consulting
with the new owners of Lashof Violins, keeping up with instrument values and the pulse of
violin making in the world. He also shares his experience and knowledge over the internet
for free with an information-only web site that he has created with no bias towards any
sales, as well as answering questions on Yahoo both in general on Yahoo Answers and on
All-Experts as a vetted and approved expert.
 In 2001, Mr. Lashof decided to write this book, to give back, as his first teacher Willis
Gault did, by teaching the novice to make an instrument for themselves. Much of the text
was written in the next 5-6 years, but because of his health it took another 10 years to
complete. Depending on the natural talent of the novice maker, they could go on to become
a professional maker and repairer given the information provided within. Mr. Lashof still
recommends a more formal training at one of the several schools in the US or others
abroad, or an apprenticeship in a professional violin maker's shop. He found his experience
as a youth studying with Mr. Gault of invaluable help, even though Mr. Gault was an
amateur maker, however his thought processes in the way the violin is made and his love
for the craft started then.

Mr. Lashof hopes that this work is similarly beneficial to the aspiring maker and
repairman.