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Posts posted by Arash

  1. Oh, since you have a computer in the office space you are planning to use, shut it down when you're making a lot of dust. With the fan-forced ventilation, they can crud up inside rather quickly. Ask me how I know. :)


    The computer repair guy was slightly offended when he took it apart.


    As long as the dust accumulated inside the computer does not show up on the screen of your computer, it cannot be that bad :)

  2. I would guess the ct scans are very accurate, just remember the instrument is old and possibly deformed by age, so pick one half and make a mirror image, also consider the top may be flattened out with time, just some ideas to think about.


    Thanks for this. Yes, I am going to mirror one "good" half. I am actually not attempting an artistic or one-to-one copy of the Titian. I use the poster as a starting point and a base.

  3. Thanks for your feedback, everyone. So far, I have generated the most dust while filing, and it is enough to settle everywhere, which is why I am hesitant "to set up shop" in the office. My wife doesn't let me partition the sitting and dining areas :), so I have been thinking about partitioning the office with plexiglass. This might be the only practical solution for me. And the Lee Valley filter looks like a good solution.


    Regarding #3: I see that my use of "professional luthiers" may be read as excluding others who are active on MN. It was not my intention to exclude anyone. Quite the opposite: I am thankful to all who share expertise and experience on MN. This is an amazing space.

  4. Hello,


    This is a multi-question post:


    1. Few days ago I received my Titian poster and was positively surprised by the CT scan provided on the back of the poster. I am wondering how accurate these CT scans are with regards to mould measurements. Can I just trace the inside of the rib structure pictured there and assume that this gives me the actual size of the mould? If so, these scans fantastically reduce the work that is involved in sizing the mould from the outlines provided in the other posters.


    2. I have a question for those who have set up a workshop space at home or in their office space. If you don't have a dedicated room for violin making how do you tackle the dust issue? I have an office space at home with books, computers and instruments and am wondering whether I might be able to set up a little workshop space in there. I realise that some of the dustier work has to be carried out in the garden or elsewhere, but what about the rest? Can an office and a workshop coexist peacefully within the same undivided space?


    3. Not a question, just an observation: a while ago I started thinking about a model for a viola and received some really useful help from Manfio. It made me realise that his space here on maestro.net has been left empty. I don't want to start a debate about his absence or the admin's decision, which led to his leaving the forum. I just wanted to share my observation and acknowledge the impact these professional luthiers have here.


  5. Oh, wow. Did you make that Oded? That looks like it's made out of brass. Nice looking tool. But flat, not rounded on the bottom. hmm.

    Although I've never tried the Pfeil gouge, it looks like it would be a good tool if only the bevel was on the other side. Shame they made in an in-channel bevel.


    Oded doesn't seem to like the Pfeil gouge (see #35). Working with an in-cannel gouge for removing back wood, I have to say I don't dislike them at all, but I don't know the Pfeil one. Urban Luthier asked a question about Juliet Barker's method (see #16). I am not speaking for her and I am unaware of the article Urban Luthier mentions, but when I started the work on my cello back, Juliet did recommend an in-cannel gouge, which I found comfortable to use. See picture.




    And does anyone know in which issue of Strad Juliet's method was outlined?

  6. I finally found J. Dilworth's 'Small is beautiful' (Strad May 2012), which clarifies some of my questions. The wood of the back is described as '[t]wo pieces of poplar or willow' and the front is apparently 'made from seven jointed pieces'. I assume most people know this, but the article is nice and answered some of my questions, so I thought I post it here.

  7. The Saveuse has been described as one of the smallest cellos made by Stradivari. Being a B-form cello, I am wondering whether the Saveuse might have been based on the so-called B Picola mould, which was supposedly not as successful as the "general" B-form. Just out of curiosity.

    And does any one know whether the Saveuse has a maple back? The wood of the two piece back is very plain and looks to my eyes more like willow or poplar, but I could of course be wrong.

  8. Thanks for your post, Nathan. I finally understand the difference between the sap and water flow in the tree. This makes a lot of sense. I remember reading somewhere that a maple tree should always be left on the ground for a few days after cutting. Whether this is always done or not I don't know, but the question is to what extent this would be useful if the tree is cut in winter since the leaves have already fallen. I suppose it is most useful when the tree is cut in summer.

  9. Thanks for reviving this thread, which I had not seen previously. One of the reasons why I embarked on making instruments is that my sons can see and participate in other aspects of making music. The violin sounds and looks great, congratulations.

  10. Sadly, I cannot contribute anything to the debate about cutting seasons and sap flow. Cutting grape vine in our garden and knowing grape vine since my childhood, I tend to agree with Melvin. But I wouldn't know whether this would apply to maple, other woods or sap flow in general. Nevertheless, the few pieces of maple I have, were cut two months ago and are quite fresh. We stack a lot of firewood in the garden and have been doing so for the past few years. No matter what we do, when we bring in the wood for the stove, most logs are covered with bug and all sorts of fungi that grows on them. I wouldn't feel safe to stack the wood outside, even though I know that seasoning would make a lot of sense.

    Merry Christmas and a happy new year to you all.

  11. Thanks for all the great advice. While I am waiting for the world to end: The wood is freshly cut and at the moment in my "office" where the temperature changes between 10 to 19C. Is it important for the wood to season outside in a covered area? I can probably arrange a covered area, but fear that sooner or later bugs attack the wood. Is seasoning really important or is air drying inside enough?

  12. I am interested in the Davidov cello poster and wonder whether someone might have an extra copy that they would be willing to sell? The Davidov is not available from the Strad website. Feel free to send me a PM if you have this poster, or an idea where I might be able to get one. Thanks.

  13. Making a cello with a willow or poplar back, do makers copy old masters where the original has a willow/poplar back, or do you use a model of your liking? I know that Melvin copies a Ruggeri that has a poplar back. I would be interested to know which Strads have a willow back and how to obtain the measurements. Do makers ever share measurements of instruments that they have measured themselves?

  14. I don't try to prevent it from warping. My feeling is that it's better to let the wood take its natural shape when drying. Fewer "dried-in" stresses that way, and a better chance that it has already changed shape as much as it wants to, and less chance that it will do so after it is fashioned into an instrument.

    This makes a lot of sense, I don't know why I didn't think of this myself!

    Melvin sent me a gorgeous piece of maple in 2010. It says "fresh may 8, 2007, Hungarians." I have had it a the high point of my attic. I guess it's time I got started on it. Thanks Melvin.


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