I have success edge-joining the spruce, but I usually "chase my tail" with the maple. Can you tell us why you changed the hand plane iron at 9:14? Davide, I have learned so much from your videos. I cannot thank you enough.
I change the blade because for the central joints I keep a special blade dedicated only to this purpose, so as to always have it in perfect condition without having to waste time re-sharpening it every time. Just a refresh on the stones before starting the jointing. And yes, maple is harder than spruce and harder to plane, super sharp blade is the key
I prefer to use the light and small clamps (Japanese Hatagane) for the top plate because spruce is rather a soft wood, which could flex and warp more easily using large clamps, while the more solid maple does not have this problem. In any case, even the large clamps are not heavy at all, they are made of aluminum and therefore quite light, and could also be used with a little care for the spruce, if you want to save money on buying many clamps. With just the three large clamps you can glue all the joints from the violin to the cello, if they were only for violins they could be shorter and therefore lighter. The operating concept is always the same, support points very close to the bar to exert pressure directly to the center of the wood thickness in the most direct and straight way possible
@@DavideSora Hi Davide, thanks much! I have a set of good aluminum bar clamps (Dubuque) but was debating getting more. Perhaps I will grab some hatagane like you've got for the tops; they're considerably cheaper.
@@manda60 Mine are Jorgensen, a few grams lighter than the Dubuque but essentially the same. I only have three, so when I make the joints I glue the back with that and at the same time the top with the Hatagane. The Hatagane also works for the back, I bought the Jorgensen mainly for the cello for which they are indispensable, but then I use them for everything (violin, viola) because they work very well. The Hatagane are a little more delicate to use because if you exceed a certain level of tightening (pressure) the bar flexes and the angle of the heads does not remain parallel. But this is also a guarantee that you don't put too much pressure, if the joint is done well you don't need to tighten too much
At 8:32 what is the purpose of marking with the pencil? Are you identifying grain and using it somehow to match the two pieces? Would love to know how you are using those marks.
Your guess is correct, I identify and mark the same grain in the two pieces to maintain symmetry of the grain on the two sides of the top plate when making the central joints.
Mr. Davide, I assume applying glue over the joint at the end of the process is to ensure there are no small gaps or cracks on the outside of the joint, and that water you add gets absorbed by the wood and helps the joint seal tight as it very slightly swells the wood causing the joint to get tighter while the glue sets? There are a lot of us out here that are trying to learn and we appreciate your time sharing your knowledge with us sir. When I glue my joint I will do it exactly like you showed me I was just curious if my assumptions are right.
Yes, your assumptions are correct. Moreover, putting a layer of glue on top of the joint serves to slow down the evaporation of the glue on the outer edges of the actual joint, which would otherwise dry before the inner part and this part, remaining wet for longer, will be more swollen for more time than the margins, which could therefore open slightly. These precautions are perhaps a bit of overkill, but when it comes to critical structural gluings like center joints, it's better to be safe than sorry.🙂
¡Feliz año nuevo! Para hacer la junta central, llevo la tapa a una altura de 18,5 mm. Puedes ver cómo preparo las piezas antes de empezar la junta central en este vídeo: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-DrcRycPbj6s.htmlsi=GWKoyWcLbkhVay8m&t=454
Maestro, thank you for the world-class videos. Do you heat the wood and/or studio prior gluing up the joints? If so, what is your preferred temperature? Thank you, Steve from Catalina Island in California.
I don't heat the wood before gluing, because I fear that excessive heating could change the internal humidity content (EMC) which could cause the wood to move and deform, which even if minimal could no longer make the joints fit together perfectly. I admit, perhaps it's a slightly exaggerated and maniacal concern, but I prefer not to take the risk.🙂 What I do, and which is really important, is to do the gluing with an ambient temperature not lower than 19°/20°C, and with the wood well settled at that temperature for at least a week. Under these conditions, there is no need to heat the wood pieces before gluing.
@@DavideSora thank you Maestro for the answer. I definitely will try your well thought out method because it makes logical sense to me. Thanks again. 🙏
@@moneypenny174 Just a warning: the glue:water dilution I indicate (1:4) is the correct one for a glue with a high gel strength (Bloom strength), my glue has it at 350. If this gel strength were lower (many glues have it around 150), the amount of water needed could be halved to obtain the same fluidity of the glue and strength of the gluing. If you don't know this number for your glue, the only way to figure out the correct dilution is to do bonding tests with different dilutions, and evaluate the behavior of the joint by breaking the test piece. If the joint separates too cleanly along the glue line, the glue is overly thinned. You can refer to this interesting article (with also a video) showing a glue tested at various dilutions: fixitwithshading.com/2015/08/02/the-ultimate-glue-test/
Hello. Thank you for posting these wonderful videos. What is the number of your big Stanley plane and what is the smallest number would you recommend for this job?
My plane is n.7 and personally, I would not go below n.6. However, any plane could work, but the big ones give you more control over the flat surface and make the work easier and faster.
Per vedere più in dettaglio la colla e come faccio l'incollaggio devi vedere questo video, dove all'inizio ci sono anche le informazioni per la preparazione della colla: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-VfYmqI52g8Q.html Comunque, la diluizione della colla dipende dal suo grado Bloom (gel strength) che per la mia colla è di 350g. Anche la temperatura della colla dipende da questo grado, e un grado alto come quello che uso io richiede una temperatura leggermente più alta (io la porto tra 68° e 70°) che aumenta anche la fluidità durante l'applicazione. Se tu utilizzi una colla con grado Bloom più basso (ad es. alcuni liutai usano 192g) la diluizione dovrà essere molto minore, altrimenti finirai con una colla troppo diluita che tiene meno. Ad esempio la colla che sto utilizzando attualmente è la Nikawa 350, che ha una viscosità di +/- 11,5. Per inciso, le colle con grado Bloom più alto sono quelle che hanno le catene proteiche più lunghe e quindi meno deteriorate durante la produzione, che quindi hanno potenzialmente una forza di tenuta maggiore. Però gelificano più rapidamente, motivo per cui io verso la colla invece che usare il pennello. Per altri usi dove serve più tempo e meno forza è consigliabile un grado Bloom più basso. Tu che colla usi? Quali sono le sue caratteristiche?
No, I use cattle hide glue. But maybe rabbit skin glue can work too, I've just never tried it. Each glue has slightly different characteristics, even within the same type of glue there are differences. This is why it is important to do your own tests to understand how your glue works and identify the right dilution. This article is a good example: fixitwithshading.com/2015/08/02/the-ultimate-glue-test/
