The Bozeman courier. (Bozeman, Mont.) 1919-1954, 1924-02-27

however, comparatively simple, pro-
,ided one takes the time to study the
of preparation of the wood and
he various processes of manufacture,
keeping in mind the fact that the
smoothness and perfection of the fin
ished product determines the smooth
ness or harshness of the instrument.
81 am quite sure that by following
these few simple directions, a per-
son of average ability will be able to
construct a violin that will be a sur
prise to the maker in both artistic
appearance and beauty and softness
of tone.
Only Few Tools Needed
For the benefit of the boys and
girls who will read this in The Courier,
l shall give a few of the secrets 1
have discovered in manufacturing
violins of good appearance and fine
tone. The tools needed are very few;
a gauge, or small chisel; a plane, and
a scroll saw are the really neces-
sary ones.
Before beginning work, be sure
that your tools are in perfect shape
and sharp, otherwise you will not be
able to do good work. The material
needed is a piece of spruce, 8 by Is
inches, and five-eighths of an inch
IN thickness for the top, and a piece
Of birch or maple, of the same di-
mansions, for the back of the violin.
Native spruce, we'll seasoned, makes
a top piece that is beautiful in ap-
pearance and soft and mellow in must
cal tone and timbre.
Side Walls Explained
For the side walls, you will need
a piece of birch or maple, one and
one-quarter inch wide, and one-six-
teenth in thickness. First, you get
your pattern from another violin, put
ting the drawing over your wood to
trace its outline, and then saving out
the form with a scroll saw to the
shape of the instrument, leaving one-
sixteenth of an inch all around for
final finish, including sandpapering.
Then true up your piece of material;
then, with a pair of dividers, or a
pencil gauge, draw a line around it,
one-quarter-inch from the edge; then,
with your chisel and plane, work off
with an awl to line, getting a perfect
shape for top and back.
After this is done you are ready
to work out the inside. Be sure to
use a piece of cloth or felt under
your work, so as not to mar your
wood. Now, draw a line on the other
side, One-half-inch from the edge,
leaving it heavier of thicker at each
end and at the corners. Now you
are ready to work, or hollow, out the
inside. Use your chisel and gauge to
rough it out, then smooth with sand
paper. The thickness should be one
sixteenth of an inch all around, from
your line out to about one inch,
then one-eighth inch thick through
the center.
"NOw, you are ready to cut your
'F' holes. Be IRE you get them in
the right position. Now, as l don't
use any liner-strips on the inside of
my side walls, you draw another line
just one-quarter-inch from the edge
then cut a square shoulder, one-six-
teenth of an inch deep around your
!, work. This gives your side walls a
| good support, and also gives a double
, surface for your glue. After you
+ have both top and back worked out
t you are ready to cut your end anC
Y corner blocks. For the large end
block 2 1-2 inches long and 1-2 incl
;. is worked to an oval, and for the op
I posite end pinch and 1-2 inch il
= thickness, worked to an oval to fl
n the shape of the side walls. You
. corner blocks need not be very larg
s in your block where the nee
; fits into cut IA inch in. groove dow
tail like for your neck to fit into. B
d sure your end and corner blocks ar
i all Of the same length.
How to Glue Bass Bar
IS "You are now ready to glue in you
i, bass has three-eighths of an inch thic
n the center and tapering to yer
n thin ends and is about nine inch.
lie long. This bar 11ould be glued firml
n just inside Il ~ hole, and direct
Of under the ba:. ing. You are no
Id ready to glue yorr corner blocks. Fir
give them to the back piece, clampir
firmly and allowing ample time for Il
to glue to dry, using a good grade
.e elue. Then place your top piece {
&c in correct position and glue likewis
a Allow to dry thoroughly, then scratC
off all surplus glue.