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Urban Luthier

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  1. @Geigenbauer has done a nice job! It takes a lot of tweaking to get things right, there is no way around this. But there are a few tips that can help when you import a scan of your instrument (outline or photo) it needs to be attached to a canvas in fusion. I usually do this to the top plane. Then it needs to be scaled to the correct dimension. Images typically come in at the wrong size and flipped. do not ask me why. I generally create a sketch reference with series of rectangles that represent the exact length, and upper, middle and lower bouts. These are made from the origin mark so you have a centre reference. From there you can scale and rotate your image reference to match the actual dimensions. once your reference is at the correct size and rotated correctly, you can trace around the edges of your outline with circles and 3 point arcs. To get the inner mould simply select the outline and use the offset tool, you'll need to weak the corners. Arching can be traced in a similar manner. you can't print anything from Fusion with the free version. You can get around this on a PC if you download dwg true view from ADSK - a free app that reads dxf and dwg files and allows you to print them
  2. I’d trust the Strad magazine posters of the Alard and Messiah over the Ashmolean drawings. Sacconi’s arching drawings are also useful reference for a Strad-inspired models.
  3. Well done Keiran! Nice colour, and it looks like our weather is cooperating!
  4. String tension may have been higher on baroque instruments! Can't speak for others, but what I have done thus far is to do exactly what I do for a violin in modern violin. All grads, arching, even the bass bar remain the same -although I do make mine a little on the lighter side. I also do a morticed neck and a a full ebony fingerboard. The only difference is gut strings, a baroque bridge and tailpiece. On the setup side the saddle needs to be a bit lower to accommodate the thick gut tail cord and the nut clearance is a tiny bit higher. This makes it easier for the player to have the instrument converted back to a modern set up if necessary - helpful as many musicians play in different ensembles with different needs One day I will get around to following the Baroque methods described by Roger Hargrave but not today!
  5. re glue - try to find a copy of @David Burgess article in the strad. it is a very very useful guide outline the working conditions of glue for various tasks. my 2 cents is if you are doing a rub joint (no clamps) the glue must not be too thick. I think I use 1:5 mixture but my glue high strength 315 g. Keep the room warm and moist helps. I also glue as soon as I am happy wth the with the fit. Stuff has a tendency to move around in my shop!
  6. Wow! you've really captured the spirit of Bergonzi! Your varnish is gorgeous and I love those pegs too!
  7. Great work Kieran - love your long purfling mitres on the back - thanks so much for sharing! And so nice to see you on MN!
  8. https://scholarship.claremont.edu/cgi/viewcontent.cgi?article=1235&context=ppr Some Misconceptions about the Baroque Violin Stewart Pollens
  9. While we are on the topic of speculations - this is worth a read... Although there is more evidence than speculation in this case of the Medici Tenor.
  10. exactly, and probably pulled forward a couple of more by string tension over time, which may have put it at something close to a modern neck angle originally
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