Urban Luthier

Wow! extraordinary craftsmanship!

Looks really nice Joe!

A mortice chisel makes easy work of a peg box even in the A / D Peg area

@Davide Sora Thank you so much! I'll be able to figure it out from here. by the way does anyone have the Strad story stick for violins? I used the viola template on a previous instrument and it worked out well

Hi Davide Hi Davide - Thanks for you feedback. Unfortunately I don't have the Alard poster. How far out am I? I took the measurements widths with a calliper from the B&G book so perhaps not the most accurate method. I chose spots I could easily locate on the side profile template (e.g width of the front and back at the centre of the eye) - so yes you are correct the points are not equally spaced. Nicolo's markings are at different spots than the ones I chose.

Can't remember if I've posted this paper here or not but this research shows that musical life does exist above 20kHz - with violin overtones extending over 40kHz. As a side bar the references to bone-conducted ultrasonic hearing is fascinating. https://www.cco.caltech.edu/~boyk/spectra/spectra.htm By the way I think 2L mentioned by @Anders Buen above is the only company I know of publishing master files recorded in DXD - 352.8 kHz. More than adequate to capture HF over 100kHz. Finely crafted engineering and wonderful performances

Reviving this old thread. I posed this in my bench thread but I may bet more feedback here... Working on a scroll template for my grand Amati inspired violin. I'm trying to create a 'story stick' for laying out the scroll widths. I used photos of the Alard from the B&G book and tried to follow @Davide Sora diagram. I chose a simplified list of reference points however. The chin, bottom of the scroll, centre of the eye, top and one point on either side of the top, so 8 points in total. (basically the same markers used by Roger in the Bass book). All marked on the drawing. The distance between the circles is a straight line from one marker to the next and the widths were taken with a calliper from the Alard in the B&G book I could use some feedback as I've never done this before. Attached is a PDF of a CAD drawing (the reference mark is 100mm if you print it). The image shows the actual numbers for reference. All the number make this look really complex but it isn't, the numbers are basically the virtual divider marks calculated by the app - in practical use using dividers the numbers don't really matter Am I on the right track? Amati Alard 1649, v2-Layout1.pdf

Working on a scroll template for my grand Amati inspired violin. I'm trying to create a 'story stick' for laying out the scroll widths. I used photos of the Alard from the B&G book and tried to follow @Davide Sora diagram. I chose a simplified list of reference points however. The chin, bottom of the scroll, centre of the eye, top and one point on either side of the top, so 8 points in total. (basically the same markers used by Roger in the Bass book). All marked on the drawing. The distance between the circles is a straight line from one marker to the next and the widths were take with a calliper from the Alard in the B&G book I could use some feedback as I've never done this before. Attached is a PDF of a CAD drawing (the reference mark is 100mm if you print it). The image shows the actual numbers for reference. Am I on the right track? Amati Alard 1649, v2-Layout1.pdf

Rachel Podger (channel Classics) Alina Ibragimova (Hyperion) are a couple of others

Really nice looking Mike.

So a Romberg with no Romberg! Sorry I couldn’t resist.

Helen Michetschläger. Excellent maker and editor of the Koen Padding violin varnish book many of us purchased.

The book Andrea Amati Opera Omnia is an excellent resource also. It may be out of print however. Hargrave's articles are useful as well. The large format book published by the Ashmolean has the best photos i've seen of the Ash collection. Cant seem to find a reference for it online however

posted here. http://infoluthier.free.fr/francois denis/resources/Reconstitution.pdf

...and if you want to see the deviation between the forms themselves and instruments built around them, the Strad publishes many posters with CT scans. The Dancla was likely built on the G form

As a community I think most of us would agree that contemporary makers provide valuable solution to musicians looking for a bespoke product As for factory output... 1.5M / yr... geez. Violins are like cars - there are too many of them on the planet already.

really nice work Michael! - Guarneri Conte Vitale inspired?

My favourite clamps.

Really nice work Mike. Love the ground. Both front and back are very fine.

Thanks AD, Jim and Tets for your kind words. Yes mostly working off the poster, and a couple of conversations with the fellow who drew up the poster. Not a slavish copy - I’ve tried to leave a personal footprint inspired by the brothers Amati over (what is most likely) a Girolamo II grand pattern. The surprising thing is that the arching is actually a little lower than the average Strad at the break points and the front and back are quite similar with an attractive but subtle scoop through the waist which is less pronounced on the top. next time I’ll arch a bit differently, Roger basically stated that the scoop and recurve were finalized with the box closed and defined by the tools used. I was also told to proceed with caution as the recurve on many old Amati’s have sunk below the purpling due to stress and age… all good fun

+ 1, love the ground AD. Nice to see colour in the flames and pores without burning - very tastefully done and difficult to achieve i expect

Wow, I llove the look of that cello Tets. I think I would be very happy playing it!

Amati 1666 inspired arching & f holes front and back

having trouble uploading photos. anyone else experiencing the same?

I'm one of the other members who uses Fusion regularly. As @Don Noon notes above, it isn't the easiest programme to learn and things have become far more complex of the past few years (and demanding) as it inches closer to Inventor (Don refers to it as (con)Fusion. The real advantage of Fusion is the CAM integration. Fusion has become a bit of a resource hog over the past year so I'd recommend a workstation with a good i7 processor with a high clock speed. the other thing to note is that while fusion is FREE to us as an enthusiast, you can't print anything with out purchasing a subscription. Yes a bit of a learning curve but easier than most other CAD apps. Rhino is an alternative. But i expect the CAM connection in Fusion is more robust. Both have very good community support. If you are not familiar with Solid modelling workflows, it would be a good idea to learn the basics as these skills are transportable from app to app. I worked at Autodesk and Alias for most of my adult life. It has been an interesting journey to watch the development of some of these programmes. these days i use Fusion for the design of forms and fixtures, I posted a bass bar clamp here awhile back. Also use it for drawing outlines for 2D. Faster for me than ACAD.