Final finish of neck and fingerboard from start to finish (condensed)

Final finish of neck and fingerboard from start to finish (condensed)
Despite the length, this video is a condensed version of the various operations required when re-gluing the fingerboard permanently and finishing the neck at the end of the varnishing. For gluing, use only hot hide or bone glue, so that it is reversible in case it is necessary to remove the fingerboard. A minimum adaptation of the sides of the neck will always be taken into account, because it is impossible to maintain a perfect match due to the variations in humidity/temperature compared to the temporary gluing during working and to any minimal settling of the wood. Touch up the margins of the varnish to create a smooth transition of color to leave no sharp lines that are aesthetically inappropriate, also applying a light dye to the neck to remove the excessive whiteness of the wood and soften the transition. Finish with linseed oil only, to protect from sweat absorption without creating an actual layer, leaving the right coefficient of friction and a pleasant natural wood feel to the touch. For more information, see the complete series (ten videos) that this video partially summarizes, to go deeper into the technical details of the various aspects.
Finitura definitiva di manico e tastiera dall'inizio alla fine (condensato)
Nonostante la lunghezza, questo video è una versione condensata delle varie operazioni necessarie quando si reincolla la tastiera in modo definitivo e si finisce il manico alla fine della verniciatura. Per l'incollaggio utilizzare esclusivamente colla a caldo di pelle o di ossa, in modo che sia reversibile in caso si rendesse necessaria la rimozione della tastiera. Un minimo adattamento dei lati del manico sarà sempre da mettere in conto, perchè è impossibile mantenere una perfetta corrispondenza a causa delle variazioni di umidità/temperatura rispetto all'incollaggio provvisorio, e ad eventuali minimi assestamenti del legno. Ritoccare i margini della vernice per creare una transizione sfumata del colore per non lasciare linee nette esteticamente non appropriate, applicando anche un leggero colorante al manico per togliere l'eccessivo biancore del legno e ammorbidire la transizione. Rifinire solo con olio di lino per proteggere senza creare uno strato, lasciando il giusto coefficiente di attrito e una piacevole sensazione di legno naturale al tatto. Per maggiori informazioni consultare la serie completa (dieci video) che questo video in parte riassume, per entrare approfonditamente nei dettagli tecnici dei vari aspetti.
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[@philochristos]

I like the colours on that violin. It's pretty.

[@Charles.uk69]

Grazie Maestro …!!!
É bellissimo questo violino…!!!!
Quanta cura ed estrema professionalità , lei cura i suoi vìolini che sta costruendo, come una mamma che cura il proprio figlio appena nato …..
Conosce a memoria ogni decimo di millimetro di ogni dettaglio e i pezzi che deve assemblare per costruire i suoi masterpieces di violìni.
Non ho potuto fare a meno di iscrivermi al suo canale ….
I hope you will have a great and nice time , thank you a lot Master.

[@isidorocustodio6593]

Belo lavoro maestro ,saúde abraço de Portugal Algarve.

[@skinnystrad4241]

Stunning!

[@migueviola]

Great Job Davide!!!!
Amazing.
Best wishes for you!!

[@DavideSora]

Hi Miguel, thanks so much!
Hope everything goes well. Best wishes!

[@TeacherAn]

A pleasure to watch.

[@virtuosovich]

Wonderful!!!

[@claudiorodrigueslima7734]

Goeie middag lutier, hoe gaan dit?Ek dink jou werk is baie mooi, ek probeer meer leer, die moeilikhede hier is groot. Wel, ouens kom bos toe, dis hoekom ek laat is.

[@aldocontreras7032]

Increíble pulcritud 👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻

[@SOOAH04]

Is there a difference in sound and reverberation between one piece and two piece of maple wood in the back? 😶

[@DavideSora]

In my experience I would say no, it just depends on the quality of the materials, no matter how many pieces (there are notable Stradivari violins that have back even in 3 or 4 pieces). One of the advantages of the two-piece back is that it is easier to achieve uniform grain orientation and distribution, which is more difficult in one-piece backs that require larger, evenly growing trees to have these characteristics, which are not easy to find these days.

[@gibbyrockerhunter]

Beautiful.
Thank you, Sir.

[@claudiorodrigueslima7734]

👏👏👏

[@icclionel490]

Perfetto.

[@edmondsinani9465]

Hi Davide, I wonder what kind of file are you using at 13:10, and is this the same file you use for the champhering of the back button? If so could you please give me any infos where to buy it? Thank you!😊🙏💥💥❤️

[@DavideSora]

Yes, it's the same file I use for the button and it's a regular small half-round file, 150mm overall length, 100mm cutting edge length, 12mm wide, fine cut. My file is branded Baitier Swiss - cut 2 (the finest for this brand), but where I got it (Cremonatools) they no longer have this brand (I think they sell Vallorbe now). However, any good brand can go, but consider that the way to indicate the fineness of the cut is different, some use cut 3 for the finest cut and some use triple zero (000)

[@bravurahouse8990]

What was the compound that you rubbed on the nut joint at 11:13?. It seams much easier to work with than ca glue and ebony dust!

[@DavideSora]

It's just plain water. Wet the end grain softens it and makes cutting much easier. The gouge must however be darn sharp.

[@anthonykomarek]

Could you please tell me about the file you are using at 13:26? I've been looking for a very fine finishing file like that but I am not exactly sure what to order or what brand to go with. You do amazing work, thank you in advance for your time!

[@DavideSora]

It is a normal fine-cut half-round file. The brand is Baiter (Swiss made), cut #2 (fine), width 13 mm, total length 150 mm, length of the cutting edge approx. 100 mm. When new it is very pointed, I just rounded the tip a bit.

[@anthonykomarek]

@@DavideSora Perfect. Thank you very much.

[@АндрейКолосов-ъ4щ]

Смотришь просто на волшебство

[@joyvarghese1693]

Is this violin still available for sale

[@DavideSora]

I'm sorry, this violin is already sold. I work mostly to order, and it is quite rare that I manage to keep violins available for sale in my workshop.

[@MrAlessandromuzell]

Ciao Mr Sora, how i can do the "cicoria" ground to neck?

[@DavideSora]

Find the recipe and procedure here: th-cam.com/video/8183e47m-bs/w-d-xo.html

[@MrAlessandromuzell]

@@DavideSora Grazie mille Maestro

[@fannan...abdelmoughit523]

👍👍👍❤

[@isidorocustodio6593]

Tenho um parecido, checo com fundo inteiro numa só peça.

[@윶놀이-y6t]

Great! Do you apply french polish over both neck and fingerboard?

[@DavideSora]

No, I use just linseed oil as a protective coating. I don't like the coefficient of friction that French polish creates and the way it wears out.
th-cam.com/video/3JGFLx6uG_E/w-d-xo.html

[@JuanDavid-ms6vs]

Una real obra de arte!

[@raymondnaterperez8726]

Saludos desde Puerto Rico. Estoy suscrito a tu canal. Impresionante y majestuoso trabajo.

[@DavideSora]

Thanks so much for subscribing to my channel☺️

[@scchao501]

Your work is so delicate and perfect! I am so touched

[@Gavrin57]

Очень тонкая и красивая работа! Большое уважение мастеру!

[@DavideSora]

Огромное спасибо

[@pollo_da5778]

sei fantastico

[@corradocavalieri7781]

Tantissima ammirazione per il Tuo lavoro perfetto, caro Maestro! 🤗

[@DavideSora]

Troppo gentile!🙂

[@raymondnaterperez8726]

CUAL ES EL costo de ese violín.

[@DavideSora]

Para este tipo de información debe contactarme vía e-mail, la puede encontrar aquí:
davidesora.altervista.org/trovaci-2/contatti