It's always amazing to see your videos Davide. Thanks a lot. One question: why you don't carve the nut when the violin is still "in white", to prevent damage at the varnish? Thanks again
Because the very little glue I put on the side of the neck to glue the nut would not be enough to keep it on the neck when I detach the fingerboard before varnishing, and it would almost surely come off along with the fingerboard. This would cause me to lose the reference to reposition the fingerboard correctly, so I prefer to put the small wooden cleat. In fact, the nut should only be glued to the fingerboard so as not to damage the neck when it has to be removed, I put a very small dot of glue also on the neck just for extra safety, but it would not be necessary. Furthermore, in order make the two chamfer on the edges of the fingerboard and to finish the surface after having glued it, it would be necessary to remove the nut in any case. Another reason is that even the slightest settling of the wood would compromise the perfect joint between nut and fingerboard, while adapting it at the end this risk is avoided. Then I find more comfortable to finish the line of the pegbox during construction without the nut, I see the lines better and I can work them more easily. Then, when adapting the sides of the nut, it is inevitable to slightly sand the sides of the fingerboard. If you fit the nut on the violin in the white then you will still have to redo a minimum of adaptation when you re-glue the fingerboard, and you will have to sand a little the sides again, risking to modify its lines and width too much. I think it might be enough, but if I think about it a little more I think I would also find other reasons, perhaps.😇 In my opinion it would make sense to adapt the nut on the violin in the white only if you glue the fingerboard permanently at the same time, without detaching it for varnishing as some luthiers do, otherwise you would very probably still need to touch the varnish and then retouch it in any case, if you like perfect work😊
Very much appreciate your upper nut! Did you try to use U-shaped Dictum 704916 8 mm wide 10 mm radius for final shaping nut/saddle and pegs? Are they worth the money?
I found the file using the Dictum Number, and I think It Is not worth the price. I prefer a flat file, to be able to make flat chamfers as you see in the video PS I don't know why TH-cam delete your comments, but sometimes happen🤔😣
@@DavideSora Thank you. It is even more expensive in Russia (6200 Rubles). I think it is supposed to be used in addition to the flat and oval files for shaping the nut.
@@adelkharisov This type of curved files are made for a supposed greater speed to finish the job, but personally I have always found them useless and difficult to control, because they are linked to a fixed radius while the nuts can vary in width and therefore in the radius, even if not much but enough to not perfectly fit a fixed radius. So you can save your money simply learning how to create curved shapes with subsequent flat bevels and a more cheap and universal flat file, a very useful technique in many other tasks in violin making.
Thanks! Sorry, I have not quite clear what you mean. The nut is glued with very little glue just to be able to detach it easily (for periodical fingerboard dressing you have to remove it). But which are the two pins correlated to the nut you are talking about? There are no pins to hold the nut. Sound quality?🤔
@@DavideSora Hi Davide! I meant guitar makers make a compound nut with string compensation. Can such an element be used for violin th-cam.com/video/huV5AXzC7M0/w-d-xo.html th-cam.com/video/uAK3hIJaRtc/w-d-xo.html th-cam.com/video/NvYoexL_7x4/w-d-xo.html th-cam.com/video/Bs4fNgRLe6s/w-d-xo.html. Thank you for your reply!
@@johnybaskin There is no need for these kinds of nut compensations in bowed instruments because there are no frets to deal with. Even the slanted bridge is not necessary, compensations are done at the discretion of the performer by positioning the fingers slightly differently for each key if they feel the need.
No, sono ancora piroli provvisori, un po' più piccoli ma abbastanza vicini alle dimensioni giuste. L'alesatura finale si farà successivamente adattando i piroli definitivi
Sono quelle finali a questo punto della lavorazione, ma non sono le altezze definitive che avrà il capotasto una volta finito dopo avere anche fatto le tacche per le corde e le loro altezze dalla tastiera. Puoi vedere le fasi della finitura finale del capotasto in questi tre video: th-cam.com/video/XhQCLYtQgV8/w-d-xo.html th-cam.com/video/g9C2hFi_g2I/w-d-xo.html th-cam.com/video/iA_ODs863qI/w-d-xo.html Alla fine quello che conta non è l'altezza totale del capotasto, ma la distanza delle corde dalla tastiera e la corretta profondità delle singole tacche per le corde.
@@miguelgarciaferrer8008 No, la distanza è di 0,5 mm per tutte le corde fasciate (G,D,A) e qualcosa meno per la corda E. Se guardi attentamente il video dove misuro queste altezze puoi notare che la lama da 0,5 mm dello spessimetro lamellare arriva fino contro il capotasto per G,D,A, mentre si ferma circa un mm prima per la corda E. Qui misuro il G: th-cam.com/video/g9C2hFi_g2I/w-d-xo.html e qui misuro il E: th-cam.com/video/g9C2hFi_g2I/w-d-xo.html
Bravo ! Very excellent !☺
Belo lavoro.maestro.
Lovely work.
It's always amazing to see your videos Davide. Thanks a lot. One question: why you don't carve the nut when the violin is still "in white", to prevent damage at the varnish? Thanks again
Because the very little glue I put on the side of the neck to glue the nut would not be enough to keep it on the neck when I detach the fingerboard before varnishing, and it would almost surely come off along with the fingerboard. This would cause me to lose the reference to reposition the fingerboard correctly, so I prefer to put the small wooden cleat. In fact, the nut should only be glued to the fingerboard so as not to damage the neck when it has to be removed, I put a very small dot of glue also on the neck just for extra safety, but it would not be necessary. Furthermore, in order make the two chamfer on the edges of the fingerboard and to finish the surface after having glued it, it would be necessary to remove the nut in any case. Another reason is that even the slightest settling of the wood would compromise the perfect joint between nut and fingerboard, while adapting it at the end this risk is avoided.
Then I find more comfortable to finish the line of the pegbox during construction without the nut, I see the lines better and I can work them more easily. Then, when adapting the sides of the nut, it is inevitable to slightly sand the sides of the fingerboard. If you fit the nut on the violin in the white then you will still have to redo a minimum of adaptation when you re-glue the fingerboard, and you will have to sand a little the sides again, risking to modify its lines and width too much.
I think it might be enough, but if I think about it a little more I think I would also find other reasons, perhaps.😇
In my opinion it would make sense to adapt the nut on the violin in the white only if you glue the fingerboard permanently at the same time, without detaching it for varnishing as some luthiers do, otherwise you would very probably still need to touch the varnish and then retouch it in any case, if you like perfect work😊
Very much appreciate your upper nut!
Did you try to use U-shaped Dictum 704916 8 mm wide 10 mm radius for final shaping nut/saddle and pegs? Are they worth the money?
Not sure which Dictum files you are referring to. Could you give me links?
@@DavideSora I tried to give you links many times, but youtube settings always delete my comment.
I found the file using the Dictum Number, and I think It Is not worth the price. I prefer a flat file, to be able to make flat chamfers as you see in the video
PS I don't know why TH-cam delete your comments, but sometimes happen🤔😣
@@DavideSora Thank you. It is even more expensive in Russia (6200 Rubles). I think it is supposed to be used in addition to the flat and oval files for shaping the nut.
@@adelkharisov This type of curved files are made for a supposed greater speed to finish the job, but personally I have always found them useless and difficult to control, because they are linked to a fixed radius while the nuts can vary in width and therefore in the radius, even if not much but enough to not perfectly fit a fixed radius. So you can save your money simply learning how to create curved shapes with subsequent flat bevels and a more cheap and universal flat file, a very useful technique in many other tasks in violin making.
Perfect work Davide! Please clear up, if the neck nut can be detachable on the two positioning pins, or the sound quality will be lost? Thank you!
Thanks!
Sorry, I have not quite clear what you mean. The nut is glued with very little glue just to be able to detach it easily (for periodical fingerboard dressing you have to remove it). But which are the two pins correlated to the nut you are talking about? There are no pins to hold the nut. Sound quality?🤔
@@DavideSora Hi Davide! I meant guitar makers make a compound nut with string compensation. Can such an element be used for violin th-cam.com/video/huV5AXzC7M0/w-d-xo.html
th-cam.com/video/uAK3hIJaRtc/w-d-xo.html
th-cam.com/video/NvYoexL_7x4/w-d-xo.html
th-cam.com/video/Bs4fNgRLe6s/w-d-xo.html. Thank you for your reply!
@@johnybaskin There is no need for these kinds of nut compensations in bowed instruments because there are no frets to deal with. Even the slanted bridge is not necessary, compensations are done at the discretion of the performer by positioning the fingers slightly differently for each key if they feel the need.
@@DavideSora thank you even so much!
Ciao Davide... Quindi a questo punto hai già alesato completamente i fori dei piroli?
No, sono ancora piroli provvisori, un po' più piccoli ma abbastanza vicini alle dimensioni giuste. L'alesatura finale si farà successivamente adattando i piroli definitivi
Ciao David. Le misurazioni che prendi al minuto 2:50 sono quelle finali, giusto?
Sono quelle finali a questo punto della lavorazione, ma non sono le altezze definitive che avrà il capotasto una volta finito dopo avere anche fatto le tacche per le corde e le loro altezze dalla tastiera. Puoi vedere le fasi della finitura finale del capotasto in questi tre video:
th-cam.com/video/XhQCLYtQgV8/w-d-xo.html
th-cam.com/video/g9C2hFi_g2I/w-d-xo.html
th-cam.com/video/iA_ODs863qI/w-d-xo.html
Alla fine quello che conta non è l'altezza totale del capotasto, ma la distanza delle corde dalla tastiera e la corretta profondità delle singole tacche per le corde.
Puoi anche vedere tutte le lavorazioni del capotasto riunite in questo video: th-cam.com/video/p0zvd5Uic5A/w-d-xo.html
@@DavideSora Grazie mille, quindi nella corda G c'è una distanza dalla tastiera di 0,7 mm e 0,5 nel E
@@miguelgarciaferrer8008 No, la distanza è di 0,5 mm per tutte le corde fasciate (G,D,A) e qualcosa meno per la corda E. Se guardi attentamente il video dove misuro queste altezze puoi notare che la lama da 0,5 mm dello spessimetro lamellare arriva fino contro il capotasto per G,D,A, mentre si ferma circa un mm prima per la corda E.
Qui misuro il G: th-cam.com/video/g9C2hFi_g2I/w-d-xo.html
e qui misuro il E: th-cam.com/video/g9C2hFi_g2I/w-d-xo.html
@@DavideSora Chiarito. Grazie mille