Urban Luthier

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  1. The Sacconi book may be useful. It has arching and thicknessing diagrams for the Strad b-form cello
  2. I haven't read the whole thread Trevor, but next time an easy way to do this is to mount your jointer in a vise upside down and take both halves of your top and draw them down over the blade with light even pressure. (Your blade needs to be flat and as sharp as you can get it). Any inaccuracy from left to right will cancel out. be careful not to apply two much pressure at the beginning and end of each pass over the blade. Test accuracy by putting one half in the vise and use the other half to test for front to back and side to side (there should be no rocking). If it is a perfect fit you'll fe
  3. See this article - a scarf joint in Cremonese work is not uncommon according to the author - the great thing about a scarf joint is that you can precisely fit the corners and even if the scarf itself isn't perfect - you'll cut the low spot when you do the fluting anyway,
  4. This reads like a rather generalized (and possibly) sarcastic statement to me . Not exactly sure what you are referring to. But for the sake of argument, I don't think it is unreasonable to draw the conclusion that certain similarities of the Cremonese arching system can be observed throughout the classical making era from the 1560s to the 1750s.
  5. Davi's post above is very interesting and makes a lot of sense. It is quite possible that the long arch (and overall arching height) was formed by the design objectives and working methods of forming the arch itself. Have a look at this article "Arching, Purfling & Edgework in Cremonese Instruments" Actually i think that is exactly what they were doing. Copying the working tradition of their shop. Andrea Amati was working into the 1570s a hundred years before the first strad. Extreme examples aside, one can easily see a continuity arching from Andrea Amati to Guad
  6. No idea what instrument he played but from the photo it looks like a stunning one piece back cut in-between the quarter and slab. Even from this small photo one can see aspects that have the appearance of historical Cremonese violins
  7. Amati Alard is in the Ashmolean. del gesu Alard is in Paris
  8. l'Orangerie to see the Monets and the Pompidou just because it so darn cool
  9. Cool projection technique!! for the interior layout i simply find the thickness centre per Sacconi, drill down to the max thickness at that point and use series of compass dividers set to the correct radii to mark the central section and lungs on the back. As you carve the lines disappear so having several dividers preset is handy to re-mark the layout
  10. Wow! her work is incredible - thanks for sharing. The images of the f-hole restorations are extraordinary. I can only imagine how difficult it must be to attain this level of skill. In my opinion, restoration professionals working at this level have to be the Jedi-Masters of the luthier community. A whole other skill set than making.
  11. Exactly not really any higher than a typical Strad. The 1666 Amati has a slightly broader recurve than a typical strad made 40-50 years later but again it is quite subtle, not like the Alard WB mentions above
  12. Hey Jim. back height is right around 15 mm top is just shy of 16mm. Overall the arching is a bit more scooped at the corner cross sections and in the middle than a strad model
  13. Amati 1666 copy. Work in progress. Lovely arching model - graceful and flowing with not a flat line anywhere
  14. Thin coats of Holiter varnish applied with your fingers or a pad should dry overnight in a drying cabinet. Heck i could get his stuff to dry to the touch with a few hrs of strong sunlight. if you do use a cobalt or japan dryer and you varnish with your finders or palm, make sure to wear gloves.