Guy Harrison

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About Guy Harrison

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  • Birthday November 16

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    http://guyharrison.com

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    Ottawa, Canada

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  1. Thanks Andreas. The changes are mostly to the long arch of the front. The original arching of the Stradivari violin I'm copying is quite high in the upper and lower bouts of the front. Some of this is distortion but it was probably made fairly high as well. So for the next violin I'm making now, I've made the arching a little higher in the upper and lower bouts. Still lower than the slightly distorted arching the original violin now has. My motivation is to find an arching that of course I think works well for sound plus one that I feel is close to the arching the original violin may have had when new. These changes are small and I'm only talking about ± 0.5mm but it's noticeable visual difference. I hope that explains my thoughts!
  2. Another Stradivari copy- this time a later period - 1720's Stradivari. I'm now making a second version of this model, wth a few changes to the arching.
  3. Thank you! I was finishing some antiquing last week on another violin - a close up of the scroll, almost finished.
  4. I agree Paul. Talking with Brigitte in person, during a visit to Germany a few years ago, she also mentioned the Stradivari cello varnish had more oil than the Stradivari violins she had tested. Which is logical for varnishing a larger instrument.
  5. Yes, they will both be 1720's Strad models. Quite nice to make them as a pair!
  6. My copy of a 1720’s Stradivari with a one piece back, now ready to be varnished. Plus the piece of maple for my next violin. (a sort of "before & after" photo !)
  7. Thank you Joe. I still have notes I took in Oberlin from our discussions on varnishing. Very helpful!
  8. Thank you. I would like to work from memory but I find it very difficult! I prefer to have photographs and info on the bench I've taken myself. Always trying to observe more if I can.
  9. Still in the workshop working ! Finishing a violin based on a 1742 Guarneri. Not sure when I’ll be able to deliver it yet and proper studio photos will have to wait as well! The edgework and some surface texture in the craquelure.
  10. Next violin on the bench - a Stradivari (P form) model, with a one piece back this time.
  11. Thanks! The software is from agisoft.com There's many tutorials on youtube explaining how it all works!
  12. On my bench today - my latest violin. In the background are 3D prints of a Stradivari front & back, with their arching shapes - made from photographs I took of the Strad violin, together with photogrammetry software which stitched the 2D photos into virtual 3D models and then finally into solid 3D prints. I'll be using the prints for my next violin which will be based on this particular Strad.
  13. Thank you! The pigment making was a project with Hugh Withycombe and with help from others in Oberlin. I look forward to receive my January issue of the Strad and see the article in print! ( https://www.thestrad.com/lutherie/the-mysterious-alchemy-of-the-madder-root/9886.article?fbclid=IwAR1A_Whh7ygPYDpW1vXSmSf-pIEDr9dwZkKMbLWC41GON2AQBqLlbEMiR50 )