David Burgess

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About David Burgess

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    Ann Arbor, Michigan

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  1. Violin neck (side) concavity

    Would you have the wife running off with the clown, or the bearded lady?
  2. Violin neck (side) concavity

    Jerry, that seems to do it. Some of the settling is due to distortions in other parts of the instrument, and I haven't come up with a foolproof way of dealing with these other distortions yet. So I still set a cross-grain reinforced cello neck about 2 or 3mm above where I expect it to end up a few years or a few decades later.
  3. Cracks in Bending Ribs

    Don gave some good advice. I'll add that it's advantageous to tension the backup strap as much as possible (end-to-end sort of tension). I pretty much pull on the ends of the strap as hard as I can, and haven't cracked a rib in decades, regardless of the steepness of the flame, or the amount of runout in the wood.
  4. Has anyone ever seen?

    In Mirecourt, Morel made the corpus. Someone else did the scrolls, and yet someone else did the varnishing. In the US (Wulitzer, then Francais), the emphasis was on restoration and maintenance, not making. While I've seen a few Sacconis, I don't recall having seen a Morel instrument. Perhaps someone else has? Back in those days, older Italian instruments were fairly inexpensive, and I doubt that there was much money in new making.
  5. Violin neck (side) concavity

    Hi Philip; I make the bottom of the fingerboard flat... it doesn't cant upward from the end of the neck (although one could do that). As a result, the edge thickness on the cello fingerboard is not uniform, but nobody seems to mind. Or at least, nobody has mentioned that they mind so far. I'd expect the strength increase to be minor, but that everything helps. It's becoming more and more common for new makers to reinforce the heel with cross-grain dowels or splines or carbon fiber. Joe Grubaugh reinforces the entire neck with carbon fiber inserts, and I'm pretty sure Peter Goodfellow told me that he regularly uses some kind of reinforcement too. I've been using cross-grain wood reinforcement of the heel for close to 40 years. Chris Dungey has been using it for nearly as long. Raising neck projection substantially on a cello is such a thorny problem, given the height of the heel and ribs. How do you normally go about it without reducing the size of the button, or increasing the string length a lot? Do you do a neck graft? I've told the story here before about doing a neck graft on a cello at the Weisshaar shop, and within a year, the fingerboard had dropped a full centimeter. I got in big trouble over that one! That was when I started experimenting with reinforcing the heel, realizing that the amount a cello neck would drop wansn't as predictable as I had thought. The first time I cross-grain reinforced the heel, I set the neck in quite high like I normally did, expecting it to drop some unspecified amount, as usual. Sometime later, I got a call from Rene Morel: "Daveed, we have your cello here for a new bridge. You make a meestake. The neck ees too high. We have to add wood to the feet of the bridge blank to make eet high enough." The neck hadn't dropped at all.

    Where do you suppose a two-year-old would have learned language like that? From his buddies at school, from surfing the internet, or at home?
  7. Violin neck (side) concavity

    I do cello fingerboards a little differently than Goodfellow, and also from what I do with violin and viola. Rather than making the sides hollow, I make them straight, the idea being to leave a little more strength in the neck and fingerboard, particularly in the heel area which tends to bend over time. The greater width doesn't seem to bother most cellists, because unlike violinists and violists, they generally don't touch the side of the neck or fingerboard when they play (although they might notice it when they grab the neck to move the instrument around).
  8. Violin neck (side) concavity

    Peter Goodfellow wrote a really nice article for the Strad on cello fingerboards. The direct links to the article in the following thread no longer work, but perhaps one could access it some other way. https://maestronet.com/forum/index.php?/topic/321920-cello-fingerboard/
  9. Violin neck (side) concavity

    A lot depends on what market segment you are going after.
  10. Violin neck (side) concavity

    It is one among many things which good players are accustomed to, and "feels right" to them. Makes them all happy 'n chit. Player happy, they buy violin, say nice things about you. Player not happy, they don't buy violin, say bad things. Bad things get back to wife, runs off with lion trainer at the circus. Just to make sure we're talking about the same thing, the gluing surfaces of the neck and the fingerboard are straight. What we've talking about is scooping the sides of the fingerboard, which will also result in scoop on the sides of the neck..
  11. Violin neck (side) concavity

    Did you check the links in the second thread? There have been other posts and threads...
  12. Violin neck (side) concavity

    OK here's another one (fifteen second search). https://maestronet.com/forum/index.php?/topic/338759-fingerboard-edgeside-finishing/
  13. Violin neck (side) concavity

    Here's one: https://maestronet.com/forum/index.php?/topic/113184-violin-fingerboard-shape/
  14. Violin geometry references

    Wenching out? Sounds like fun, at least when I was younger!
  15. Violin neck (side) concavity

    Concavity of the sides of the fingerboard, end-to-end. There have been quite a few past threads, discussing various approaches, and the reasoning behind them.