Double Bass Grofiller Bass project

[ctregan]

So what/how do you/they use to keep the corner blocks in position fot glueing? A base plate with the blocks fixed to it?

Thats why they are skilled luthiers.....

 

[Damon Rondeau]

Remember the guild roots of the trades. When you're a "master", that means "master" -- you are totally independent in your work. Let the apprentices and journeymen do things by the book -- you do it the way you think it needs doing.

 

[arnoldschnitzer]

So what/how do you/they use to keep the corner blocks in position fot glueing? A base plate with the blocks fixed to it?

I build the top, flip it over, then glue the blocks right on to it. I rig up a simple framework to keep them in proper relation to each other.

 

[Jeff Bonny]

So what/how do you/they use to keep the corner blocks in position for gluing? A base plate with the blocks fixed to it?

A bass dimensioned variation on this theme with blocks instead of tube clamps?
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[ctregan]

Roughing out corner blocks with modern abrasives.

 

[ctregan]

I plan to fine tune the corners after they are attached to the mould.

 

[Matthew Tucker]

Is the center part of your mold the same profile as the outer two layers? looks shallower. Remember to watch the grain direction with your blocks, you have to split the surplus off cleanly with a chisel later.

 

[ctregan]

Is the center part of your mold the same profile as the outer two layers? looks shallower. Remember to watch the grain direction with your blocks, you have to split the surplus off cleanly with a chisel layer.

Same profile but the center part is not in the exact center of the mould.
The front part of the mould is the depth of the neck block, the back part of the mould (deeper part) is the depth of the sloped back.

 

[ctregan]

What species of wood is best for neck and end blocks?
I made my neck/end blocks from poplar but now they seem a bit heavy and dense. I was thinking of switching to a lighter wood, but I want the blocks to be strong. The carving carving down process may lighten them some, still, I am starting to "waffle" on my end block choice.
(The corner blocks are cedar.)

 

[Matthew Tucker]

look here, down the end of the thread

http://www.talkbass.com/forum/showthread.php?t=222309

 

[ctregan]

Blending in the corner curves with the form. I used a flat gouge and sticky sandpaper on a pipe(s).

 

[ctregan]

I trimmed the inner c bout sides; Clean up of the outer half of the blocks will take place after the inner c bout rib is glued up.
If viewed from the correct angle, one can almost imagine the outline of a Double Bass!

 

[1st Bass]

I have never built that model, so take this for what it is worth-- I have built a number of smaller instruments, and looking at the photos you posted or your corner blocks, I am afraid you will end up with very long corners on your bass.

The blocks look great, but kind of "pointy", and the ribstock will exacerbate that tendency, producing an even longer corner, forcing you to make the corners on your plates longer yet, to accommodate the ribs...do you see what I mean?

Whenever you copy a template, it is easy to end up with longer corners, and every step in production lengthens them further. But I could be wrong-- try some scrap ribstock on there, and see what happens. My first three or four instruments all had the corners too long, and that is why....

FWIW

Chet

 

[ctregan]

Good point! I have some more trimming to do on the outer side of the blocks maybe I can keep the length and shape in check then. They do appear kind of long and skinny.... This is my first violin family instrument I have built; I am cabinetmaker by trade, this is just a fun weekend challenge/project. Last year, I rebuilt an old crumbling cello as a learning tool. Sometimes repairing old instruments is a good way to learn how to build a new one.

 

[Matthew Tucker]

How's progress?

 

[Silversorcerer]

Keep the doug fir for furniture. It splits horribly when used in a bass top. I say this from personal experience.

One can only wonder what [Invalid or Expired Link Removed] would say....

 

[Damon Rondeau]

I wonder how many he's built out of Dougie? It's one of my favorite woods to look at, but old doug fir is about as splinterey a wood as I have ever worked with. Especially if it's been used inside as a beam or a post or something. Maybe wenge is worse.

I wonder if that's Bob Ross' "reduce, re-use, re-cycle" bass?

 

[ctregan]

How's progress?

We are experiencing technical difficulties, please stand by.

 

[Silversorcerer]

What species of wood is best for neck and end blocks?
I made my neck/end blocks from poplar but now they seem a bit heavy and dense. I was thinking of switching to a lighter wood, but I want the blocks to be strong. The carving carving down process may lighten them some, still, I am starting to "waffle" on my end block choice.
(The corner blocks are cedar.)

Poplar, on the average, is about the same density as spruce. There are strong points in favor of both woods for blocks. Some bass plans that I have by George Boron suggest poplar as an alternative for spruce. Some builders feel that there are no better choices than spruce. In the end, these choices of wood, whether it is the top, the ribs, the back, the blocks, the neck, etc.;- are really up to the individual builder. The traditional woods used most of the time have a lot going for them;- primarily that they are harvested by suppliers with musical instruments in mind and the largest body of experience is with these woods. But if one looks at the long history of wooden instruments there are many examples of instruments built from other woods that were more easily available to the maker at the time. If you have no experience with either spruce or poplar, is one really going to be easier or better to work with?

Matthew built a bass with oak ribs. That has to be a very rare choice. Then there is dulcimer and psaltery builder, Archie Smith. He uses many different woods for his instruments. I have seen other double basses on the web with douglas fir tops besides Ross's, one or two with redwood tops, a few made with various cedar species. I think walnut or mahogany would make great rib wood. If it works on a classical guitar, why not on a double bass? More variation in the materials and more experimentation would probably serve makers well.

The really big spruces are becoming rare. Maple on the other hand, seems to be in good supply. Yellow poplar is one of the fastest growing trees I've ever seen, so it is doubtful that it will ever run out. It certainly can't hurt for makers to experiment a bit.

 

[Matthew Tucker]

Not Oak oak. Silky Oak, aka lacewood, aka grevillea robusta or another grevillea species.