Hello

[Craig Regan]

I seem to have misplaced my camera; hope to find it soon so I can update the thread.

Currently, I am still carving the top by hand; its slow going but a good way to learn. It is tricky navigating the grain direction with all the hills and valleys. The spruce likes to tear out so I try to keep the tools very sharp.

More pictures coming soon....

[Craig Regan]

Very rough shaping at this point, top plate is still very thick.

Need to refine the shape and figure out the edge thickness. It is 10-15 mm thick around the edges, so I still have a long way to go.

(I found my camera)

[Craig Regan]

Photo #1
Winter is here.

Photo #2
Top carving. Roughed it out, then started to work on the "east-west" or horizontal arching. Here is the C-bout arch getting close to the outline of the template. My plan is to establish the top, middle, and lower arches, along with the long arch. Then, blend them together into a beatiful bass top.

You may notice a pitch pocket of some kind has appeared in the top. It was not there when I started to carve, but slowly revealed itself as the top got closer to the finished size. I may have to do some type of repair.

Photo #3
This is my arsenal. So far I have stuck to the hand tool method for shaping the top. Doing this by hand, IMO, might be a better way to learn the subtleties of plate arching, (as opposed to using power tools).

[Craig Regan]

Picture #1
I fastened the top plate to an old table base. This enabled me to work around the plate without having clamps and bench legs getting in the way.
Gracie (the dog) has been with me from the start, usually she just curls up in the corner wile I whittle away.

Picture #2
The top plate, in all its "fully carved" glory.
(still have to carve out the inside)

Picture #3
Working the edges. Violin makers spend a lot of time discussing "edge treatment"; it may not be as big of a deal in bass making, but, nice edge work is one of my goals on this instrument. I am using gouges to get the proper scoop and roll wile at the same time, maintaining plate thickness and reserving a place for the purfling. Also, one must keep in mind the overhang distance. There is a lot going on at the edge of a top.

[Arnold Schnitzer]

Nice looking handiwork there, Craig. Just as food for thought, you might be interested to know that most makers install the purfling before forming the edge hollow and bead, so that their purfling tools have a solid, flat surface to ride on. Are you installing purfling? If so, what method are you going to use to cut the channel?

[Craig Regan]

According to the box it came in, I have an "Ulmia Furnieradern-Nuten". Made in Germany. Its a channel cutter for inlay work I purchased years ago for furnituremaking.

It will need to be adapted to work on the bass, but in general, the tool functions the same as the ones they sell for cutting grooves for purfling.

I will regret it later, but, I will probably end up chipping out the waste by hand. Once again, I've chosen the slow method!

[Craig Regan]

This thread is proof that not everything on the internet moves a the speed of light!

The purfling is on hold, I ordered material and waiting for it to come in.

Still working on the arching; trying to get everything to the finished profile before hollowing out the underside. The high tech lazar shots give an idea of the curves on the top.

I left a lot of material on the edges so I can attempt a more sculpted treatment there. I am hoping it will look more "hand carved" than a production factory bass.

The last photo is just a teaser; I wanted to see how the top looks on the ribs. The underside still needs to be carved. Also, still have to remove some of the glue residue on the ribs.