Friday, June 8, 2012
Thursday, April 26, 2012
Five-Course Mandolin Part 4
To finish things off the ends of the braces are tapered off and feathered into the surrounding surface. The bars are trimmed to final height and rounded. You can see that the bars aren't symmetrically placed. The bass-side bar is slightly shorter. The treble bar is narrower, and is at a more acute angle to the centre-line of the plate.
Posted by Ted Woodford at 8:41 PM No comments:
Saturday, April 7, 2012
Five-Course Mandolin Part 3
Carving the plates requires a certain kind of determination. This is the back, and I have used a router to remove a series of rings of material at varying depths to provide a guideline for carving. It's like a topographic map in maple. I'll use a small plane to take down the pointed areas of the terraces followed by a scraper.
More scraping. It's easy to start chasing the lumps around. They disappear in one area only to pop up again in another.
I embedded a dowel in the surface of my drill table that is centred on the bit and marked out some depth notations on the inner surface of the plate. By setting the drill stop at various depths I will give myself a visual aid in the hollowing process. To make measuring between bit and dowel easier I made up a little wedge of hardwood with increments of 1/2mm marked on it. I left a generous amount for waste.
This is a quick-and-dirty carving cradle I whipped up. It's made from 3/4" (19mm) ply that is sawn out to a profile that supports the plate around its edge. I lined it with some scrap foam I had sitting around. This allows me to clamp the work in position. Carving involves some muscle and the movements are repetitive. It's especially hard work in maple, though spruce furnishes its own set of challenges. It's much easier to tear the grain of softwoods. In either case most of the rough carving is done across the grain.
Like so. I'm using a small convex-soled plane and various shallow gouges. The thickness profile was taken from a smashed 1950's Gibson I ran into quite a long time ago. It's thickest right in the center and thins toward the edges, but not in a strictly concentric way. The area near the neck end is quite thick and it extends forward . When I reach the bottom of the guide holes I start to pay very close attention to what is happening, making frequent checks with my thickness caliper.
Posted by Ted Woodford at 10:09 PM No comments:
Wednesday, March 21, 2012
Five-course Mandolin, part 2
Posted by Ted Woodford at 8:22 PM No comments:
Friday, March 9, 2012
Five Course Mandolin with Fanned Frets
"What about fanned frets?"
Shawn had done his homework. The low C strings would be pretty floppy, otherwise. I was aware of the concept of fanned frets. The Orpharion was a wire-strung, lute-like instrument from the 16th and 17th centuries that employed the multi-scale idea. Essentially, each string has its own scale length, thus the basses can be made a little longer to offset intonation and tension problems. More recently Ralph Novak patented a fanned fret system coupled with some innovative bridge designs for use in his electric guitars.
Posted by Ted Woodford at 10:10 PM 1 comment:
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