Fun with wood shavings

Thousands and thousands of little wood shavings. Every now and then I have to stop to look at the shavings. This stuff makes great wood tinder. It also makes for cool pictures.

There is a magical thing that happens when an artist takes away something from raw material to create something new. Violin making is no different. There must be a tens thousand little cuts that go into a making violin. Continuously, the work bench needs to be swept off and the floor swept up.

If you watch YouTube videos of violin makers you will see a trait common between most of them. Breathing. Not just breathing but consciously breathing. I sometimes wonder if they even realize they are consciously breathing as a part of the work. What do I mean? Well, when cutting away material with a gouge wood will often stay on the gouge or in the way of the next cut. I don’t have time to take my hand off he gouge and wipe away the wood chips. Instead, I exhale a puff of air to blow away the chip(s), take a relaxed breath and make another cut.

It took me a while to catch on to what was going on. I saw other violin makers doing it and then realized I was doing it. Now, the act of breathing has become part of the routine when paring away wood. The rhythm is peaceful and focusing. Now, when I find myself engaged with a task and I start to feel a little strained or anxious about a task; I stand up straight, do a quick cleansing exhale (puff), re-engage the proper posture and cut away.

Fun note on wood shavings

When working on the top or back, I can easily generate enough shavings to fill a five gallon bucket. The contents are then deposited into my fire pit for later enjoyment. I think it would be cool to reuse them with epoxy and do some custom lathe work. Hit me up, I’ll ship wood shavings, too.

Preparing violin ribs

I finished preparing violin ribs by shaving maple wood down to 1.2 mm thick. Learning to thinning wood to a veneer thickness with hand tools was tough. I am finally feeling like I got the hang of it; I can still tell I have more room from growth. Fortunately, you don’t have to worry about the tediousness of this task and get on to playing music.

Preparing violin ribs is one of those tasks in violin making where you could make them with a drum sander or some other feeding type machine; the issue will always be with the way the wood looks when it comes out of these machines. Often, the tool marks left on the ribs creates more issues than helps. I think one could easily spend more time fixing tool marks than just doing the work by hand. I know it’s debatable, it’s just my observations.

When making ribs, my low angle block plane is my best friend. I put on an audio book, get setup and then start planning away. The wood I use is typically thicker than what you would by from a regular tonewood dealer. I use to not like starting with thicker wood. I have since changed my attitude when I realized I had more choices with larger rib stock.

I get a couple of additional choices available to me when my wood is less refined. I like that I can adjust the grain direction because my rib stock is wider; so I can change the angle/slope of my ribs. Also, I can work the outside facing portion first to get the crisp smooth edges and still have plenty of thickness in case I mess up. Which I sometimes have a little too much tear out.

My takeaway

Choosing thicker wood does have some challenges. Primarily, the surfaces of my rough stock do not show the flame as much as I like. So, when starting a violin and choosing the rib stock, I have to spend more time looking at the texture of the wood and the grain features. The extra steps definitely keeps me closer to the wood because I have to make decisions. After I choose the rib stock, it’s on to bending ribs.

“Verity” a Handmade Violin


-the quality or state of being true or real

Merriam Webster

This violin sings under the ear. “Verity” can play from quiet to loud smoothly with more in reserves. I chose verity for the name of this violin because I was finally able to realize what I have been dreaming about making with intention. All aspects of this violin were designed and drafted by me. The top plate was selected for me by my tone wood dealer. Everything about this violin fell into place. I’m making more of these violins in 2022. If you miss this one, there is another chance for you in the near future.

The first two sessions with a guest perform was under two different string sets from different manufacturers. The sound changed to the strings. You could play with the sound of this violin for a long time just by changing strings over the years. The

It’s first guest player worked with me for two sessions to get the sound right. The first session was great. We both agreed it needed some work. So, I decided to cut a new bridge and added a little more graphene to the nut. The tuning pegs got a little more soap/chalk and burnishing. New strings, too. This violin showed up for second session. The combination of setup and player familiarity really set this loose.

The finish is a spirit varnish. The color is a combination of red, brown and yellow. The ground color and spruce creates a nice suede leather with a red/brown finish. In the light, the flame is very present. It really wants to be looked at.

The length is 360mm long, I know some say “that’s too long!”. I keep the mensur at the standard length of 196mm for standard playability. The after string length is a little long but “Verity” plays good with it.

It has the usual standard of red maple back and neck, red spruce top, and ebony for the fingerboard and accessories.

Maker: Handmade violin by Roman Clarkson

Strings: Piastro Tonica (Gold Label E)

Bridge: Teller

Accessories: Metropolitan Music – Swiss Style with chinrest

Price: $2,300 Year: 2021

Serial: 21-3

Case: Includes a basic case from Metropolitan Music

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