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Posts posted by scordatura

  1. Yes I would describe my CNC efforts so far as fits and starts. Excitement and effort followed by...this is daunting...renewed interest...what have I gotten myself into!  Oh just hone the gouge and have at it old school. :)

    I am in the CAM phase now. Figuring out tool paths. Deciding if I should do the CAM and G code in Fusion 360 or use VCarve Pro for the CAM and G code. 

  2. 6 hours ago, JacksonMaberry said:

    In that order, wouldn't you be oxidizing the casein as opposed to the upper cells of the wood? I haven't used casein in any application, but I'd be curious to know what it's polarity is like. Whatever goes between the wood and the oil varnish needs to account for the polarity of each if you care about adhesion.

    Id also be concerned about the inevitable alkalinity of casein size, which is definitely going to interact with any organic pigments, such as the ever present madder lakes. 

    I have been told by a successful luthier that that is his method. The oxidizer after the sealer helps prevent uneven staining and perhaps the oxidizer from going too far into the wood.

  3. 4 minutes ago, Nick Allen said:

    I want to make a Peter of Mantua with a 20mm arch in baroque setup soon. 

    If you can look at Andres Cardenes' Petrus of Mantua violin someday at CMU you can see that style of arching. The varnish on his instrument is incredible! I glued an open seam way back in the day...

  4. 1 minute ago, Nick Allen said:

    Yup. David mentioned that, so I take that word as very solid.

     Makes sense. I recall a thread on MN where someone was trying to quantify density with arching and thickness compensations. Of course it was met with the usual "just do it with instinct and artistry" and some more inquisitive/calculating responses. Should look that up again.

  5. I would think that unless you are making a bench copy/exact replica a slightly longer body length might not be a bad thing as many of the middle period dg violins tend to have a shorter long arch/body length. This is a matter of opinion though. Having played it, it does not suffer at all.

  6. On 11/16/2019 at 3:12 PM, Melvin Goldsmith said:

    I know there is a preference for sub .38. I like plus 42 at least

    Are you serious about this Melvin? How high would you go? I also recall you saying that you leave a few extra tenths and adjust if you need to after the instrument is assembled and played for a bit.

    Do you go by weight to adjust for different densities?  I have some spruce that is in the mid .4s. I am thinking I would make a little thinner and a little lower arch. Does that seem like a good direction for heavier wood?

  7. 27 minutes ago, Andreas Preuss said:

    I made a replica of the Kreisler some years ago. I was working mostly from the Biddulph book because the measurements are all taken with a caliper. (If you are interested I can take a pic with my I phone and PM it to you) For surface appearance I looked at the ROC pictures. 

    I wouldn't be concerned to match everything to 1mm precise (I found out that my replica was 2mm too long) . Whether you make a replica or not, it is IMO essential to get the proportions and the flow of lines right and this compromises for me slight assymmetry as well. 

    You can view my interpretation of the Kreisler DG  here 



    Nice work Andreas. You even got the circle on the back! Lots of textural detail in your instrument"s varnish. 

  8. This is the decision between making a bench copy (exact copy) and a cleaned up version of the original. Two different things. For mine I am doing the cleaned up version. At least that is how I am starting! No doubt asymmetry will creep in.

    One thing to note about this particular guarneri. It is pretty thin in the center of the belly. Having played the instrument a few times, I can definitely state that this is no shortcoming. It is a wonderful players instrument.

  9. For those who are not familiar with the Francais/Morel shop, link below is a video that shows them both. After re-watching this just now, I was struck with the fine artistry of Aaron Rosand. I had the pleasure of being in his masterclass in Nice France in the 80s. He was initially concerned and then amused when I used to stare at his Kochanski de Gesu in his case. I believe this is the violin in the video that Morel is adjusting. Unfortunately we lost Rosand this past summer.



  10. 3 minutes ago, Jerry Pasewicz said:

    Didn't Rene sum up sound post adjustments by springing a rule from the edge of a table? Hmm...He certainly did, but What does that have to do with a workshop having high standards?

    Hi Jerry :)

    Nothing. I was just making a point on interpretation that others had brought up in previous posts in this thread.

  11. With all due respect, the secret or proprietary setup measurements ship has sailed decades ago. The measurements are pretty standard and available from many sources. Interpretation is noted however. Context always should be taken into account. For instance string heights measured from the center of the string. Shouldn't the amount of "scoop" in the fingerboard be taken into account when determining string height? What about player preference? That would make the string height above the fingerboard somewhat relative.

    Morel's measurements came not only from Mirecourt but also his tenure at the Wurlitzer shop with Sacconi (also Weisshaar and others). He was not the first luthier to determine "best practices" nor were the measurements only his. Besides, these aspects can be measured on existing instruments and only a fool would take them as absolute. Didn't Rene sum up sound post adjustments by springing a rule from the edge of a table? Hmm...

  12. I was wondering if anyone has a copy of the somewhat famous "eyes only" sheet that shows the setup dimensions from the Francais/Morel shop? It was rumored to have been written by Guy Rabut and/or Jim McKean. I know it was somewhat secretive back in the day. I am curious to check the numbers against the various sources that I have (Weisshaar Book, my notes from Hans Nebel, etc.). 

  13. 1 hour ago, Michael_Molnar said:

    I encourage you to read the literature. Start with V. Bucur, “Handbook of Materials for String Musical Instruments” (2016). Therein you will see how many researchers have detected proteins in Strads and other Cremonese instruments. Read the recent work by the Italian researchers at the Arvedi Lab for more work on proteins (2017 and more recent).

    Thanks for the heads up on these publications Mike. I will check them out.

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