Urban Luthier

I know this is an old thread but i was wondering if anyone has made a cello off of Sacconi's reconstruction of the cello b-form as posted above. Based on Joe's comments, it appears to differ slightly from Roger's Davidov drawing (lower part of the centre bouts are lower in the Davidov)

for those of us who measured the temp i don't thing it is about laser precision here -- most of us did what you did - test a bunch of different temperatures based on personal workflow to find out how hot you can bend without burning. Then mark the position on the iron and be done with it. in my case I was simply curious to know if the surface temp of my iron matched what's printed on the dial. And in my case it is pretty close.

Yes exactly -- just because the bending iron is 170 C doesn't mean that is what the wood sees. Factors like Steam and insulations from the bending strap likely increases the temperature the wood sees

I have the Luthier's Bench Iron and I set it to 170 C -- it is fairly accurate +/- 5 C degrees I measured it with one of these. Bends perfectly at this temp as long as the rib is fully supported by the strap - no stains, burns or discolouration, no kinks or breaks I did a bunch of experiments recently and took notes. Keep in mind this is with my wood - medium figured euro maple and my workflow (which I admit is a little slower than ideal) 200-225 degrees -- WAY too hot -- melts the winter growth and creates caramel stains in the forms of dots and streaks. Wood discolours and burns 180 - works but some slight discolouration of the wood, chance of caramel streaks if you don't work quickly. perhaps useful for highly figured wood 170 - works the best as noted above - slightly moistened rib, light steamed for 10 seconds, establish the curve by pulling slowly around the iron and bend dry for everything else - no burns, discolouration, cracks 150 - Works but need to steam for longer - makes the wood too wet - need to work more slowly - easier to get kinks or breaks even with the rib is fully supported

grand indeed!

The Strad Magazine sells many https://www.thestradshop.com/store/product-category/lutherie/ Enjoy!

Here is a nice cello by Frank Ravatin on Tarisio with a guidance of £25,000–40,000.

Nice jig John! I test by gently pressing the sharpened tool into a fingernail -- not much arm hair I'm afraid

I'm quite familiar with Roger's articles ;). I Don't see any reason why a modern maker couldn't follow a variation of the workflow employed by the ancients - in this case the neck is dovetailed to the rib garland rather than nailed to it. Then go about the workflow outlined by Roger in the Guarneri book to scribe the outline. The neck would need a notch of course to accept the top plate

Of course this makes perfect sense David. I should have clarified above -- my curiosity is more around why many schools teach this 'restoration informed' method in new construction, when there may be other workflows for jointing a neck that are easier for students to learn and execute. I just looked at an old trade secret article by Howard Needham that illustrates the method for jointing a neck before the back is attached. I have never done it this way but I think I will give it ago in the future as a learning exercise

Thank you as an amateur I've only this a few times but looking back, that is exactly it, a sliding dovetail (albeit one with very oblique side angles) Next question is a little harder... for the life of me i cant figure out why modern makers continue to perform the dovetail neck set with the back installed - obviously this workflow makes sense for converting a baroque to modern setup (which is where the the method comes from if I understand correctly) But from a pure woodworking perspective, it is much easier to execute an accurate sliding dovetail joint with the back off as one can see the joint from both ends and verify accuracy as as you go. The added bonus is the neck waste can be cut flush to the back side of the block.

Thanks. So if neck joint is a dovetail, I think in pure woodworking terms it would be considered a tapered sliding dovetail joint. Correct?

Is the violin neck joint actually considered a dovetail joint? or is it a dado joint? I don't know so I'm asking the question.

Fantastic E!

begs the question, why on earth do we need any more violins on this planet?

A fine recording on the 1690 Tuscan by Fabio Biondi https://www.prostudiomasters.com/album/page/34341

I'm speechless. Simply remarkable. Thank you for sharing

fine work E!

I got one of these based on your reco -- it is large enough to do a cello cost less than $100. It would have cost me more in lumber supplies to build a cabinet this size

Wow really nice work!

I have some Swiss pear that I'm planning to use for a large viola one day

I can only speak for myself... I just finished a viola that has extremely fine growth (many early strads are like this -- the Archinto viola for example). I used a typical solvent free oil varnish with no sanding or polishing between coats -- the resulting surface texture on the belly is very subtle. Quite different from other instruments I've made with wider grain that results in what some call a 'ripple' or 'corduroy' effect - i.e. the summer growth swells - similar to what one sees on the Messiah strad or the Guarneri above

Hi Davide That's the one i was thinking of yes. @jacobsaunders I was referring to page 190 of the Segreti book, although i think the same instrument is pictured in the book you have also

I think the Sacconi instrument in Cremona is the one pictured in his book (baroque setup decorated in the style of the Hellier Strad?) see p. 190. Honestly it has been 20 years since I visited Cremona so i'm not entirely sure

Boy, mastic is expensive isn't it! I tried it once -- followed Michael Darnton's instructions exactly. The varnish turned out really well. Smelled nice also! I found it far too soft to use as a violin varnish however