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patrick stover

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  1. Thanks everyone! Unfortunately the f's and notches have already been cut, so I guess this one will be a slightly longer scale length. But I'll know what to do next time.
  2. Brad, I've found that almost all of the violins and violas I've made have had the mortise deeper towards the back. I wasn't thinking about a specified angle of the heel on those as much as I was thinking about the projection. This is my first cello, and because of the rib thickness, I want to get that angle relatively close so I don't weaken the top block by setting the neck heel in too deep. Nathan, I initially set the neck length at 280, but then changed it to 275 when another local maker told me that the scale length of the string is more important than the measurement of the neck. The "standard" stop length is 400 mm but a Strad "forma b" is 405 mm so I was told to take 5 mm off the neck length to maintain the scale length. I will look at raising the overstand, thank you. I'm just going off numbers I've found in the Strobel book.
  3. I was also wondering if it's a good idea to set the depth of the neck mortise parallel to the ribs or if it would be better to make it deeper as it gets closer to the back.
  4. I can take more pictures if needed, my camera isn't great though.
  5. I'm working on my first cello, and without access to a nice cello to use as reference. Using Strobel's "Useful Measurements..." book, The "Davidov" poster and a few other Strad books, I'm trying to create a neck template. I'm ready to cut out the template and start cutting the neck but I wanted to ask MN if you see any errors or improvements that could be made. Some of the measurements... Neck angle at lower end is 82 degrees Distance from top edge to the inside of the heel is 36 mm Neck height over top edge is 19 mm Neck to be set into the upper block 10 mm (you can see the dotted line representing the ribs) Distance from the upper edge of top to nut is 275 mm (the stop length is 405 mm) Thickness of the neck is 17-19 mm That's all I can think of at the moment. Let me know if you see anything done incorrectly, Thank You.
  6. Just as the title says, I just want to buy something that works well. I was looking at Joha.eu. I don't know if that's any good. Thanks!
  7. I don't think that this thread was supposed to become an argument of inside vs outside arching. Does it matter what the old masters did? I adopted the Zethelius method with my own variations on my fifth instrument and haven't looked back. If tomorrow inside arching was completely disproved to be the method of the masters, I would continue to use it. I would like to hear some general comments about tonal changes that correspond to overall height of both the back and top. Is it even possible to generalize about that?
  8. Hi Dearest,

    How are you doing?I hope all is well. My name is Miss Mirian Brent, i want to be your good friend, please kindly contact me direct with my email address (mirianforyou@yahoo.com)To able me to send my details and picture to you for you to know whom iam am Waiting to hear from you.Remember do not reply me in the site use my email address above.Have a nice day Yours Mirian

  9. I have been thinking of the same thing. Here's one idea, Apply a few layers of glue to the ribs and place a sheet of paper over the surface, allow it to dry then cut it away leaving the paper layer just over the glueing surface. Apply a layer of glue over that and clamp the top on. When you need to remove the top you will be breaking/splitting the paper layer and not your top. This being said, I have only done this on finger boards (but with great results). I doubt that the thickness of paper would change the hemholtz but again, have not tried it yet.
  10. Is Oliver Rogers equipment secret? Any online resources or databases?
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