Urban Luthier

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Everything posted by Urban Luthier

  1. wondering how many of you use what some woodworkers call the 'ruler trick' when sharpening plane blades? i.e. honing the face of the blade by placing a thin ruler at the opposite end of the stone so only the very edge of the blade is honed.
  2. The one disadvantage of the PMV11, is that one really needs to monitor the edge while you work. The PMV-11 stays sharper loner than anything I've tried. I frequently use the tools with these blades longer than I should - even to the point when the edge starts to fail. At this point it is back to the grind stone.
  3. all of the home-made honing jigs above look really cool. The best investment I've made (and the most painful one) is to learn how to sharpen everything freehand. With a bit of effort i'm now able to get results as good as i used when using jigs, the benefit is that I can work much more quickly. Like John and Jim i use the Tormek jigs for grinding.
  4. Konrad Sauer (A plane maker friend of mine) uses O1 Hock blades. I have a couple of his planes and I can get the blades sharper than anything else I've tried. The A2 blades in my Lie Nielsen's (scrub and 102) seem to be more durable and stay sharper longer than the Lee valley A2 equivalent. I now only use A2 for high angle toothing blades. I use the Veritas PMV-11 in my LV planes now. PMV-11 seems to be the Goldilocks blade - I can get it quite sharp (not as sharp as the hock for some reason) and they stay sharper for longer than anything else i've tried.
  5. When doing this joint i also bevel the ribs very slightly by a half a degree or so. That way the outside face of the two ribs buts together tightly when glued. No matter what one does, in a hundred years joint will separate slightly anyway!
  6. Useful info here on the size and shape of baroque bass bars. See toward the end of the article https://www.roger-hargrave.de/PDF/ViolinMaking/Fitting_a_Bass_Bar.pdf
  7. Yes this is what i was referring to above. The CT data is super accurate! However S&Z were unable to produce an + - .3mm accurate resin based copy from the data (they were using an additive fabrication process with resin not CNC). When I spoke to Andrea, he wasn't 100% satisfied with the results and decided to cancel the 3d print option originally offered with the book. It is too bad -- even at these tolerances, I would have been happy. It is near impossible for amateurs to get a hold of plaster casts for study purposes.
  8. Trouble with 3d printing from CT scans (CT->STL) is the accuracy of the resin print. S&Z ran into issues with this with the Tuscan Strad publication. They simply couldn't get the accuracy they were looking for + - .3mm was considered too great a margin of error.
  9. Second this - the cost of the tools needed to fix up an old Stanley + the time to do it can be more than buying a new LV or LN plane. Makers today are very lucky - there is an embarrassment of riches when it comes to tool selection and availability
  10. This is my favourite tool (and I think probably the best block plane Veritas Makes). The ergonomics and machining are first rate. There are two versions: a low and high angle. I like this one better than the fancier one.
  11. +1 I've used violins.ca several times. I live close to downtown Toronto and it isn't as easy as you'd think to get the exact string you are looking for. Try walking in to a shop and asking for Piastro Golds for cello and see what happens. Eudoxa's sometimes - Golds - forget about it.
  12. I spent the bulk of my career working at Alias / Autodesk. I even worked with the fusion team for a bit on the rendering software. Benefit of Fusion is that the CAD and CAM are integrated into a single package and for personal use it is free. For folks in our industry looking at CAM -- you couldn't do any better. If you want to experiment with generative design, it is also worth having a look at Rhino / Grasshopper.
  13. Nice ground Dave. I really like your viola model!
  14. @Baroque temperature aside, your primary issue is that your quantities way are off. There is simply no way to make a useful varnish from 20ml of oil and 100ml of resin. These quantities will give you what you got, a gooey clump of semi-solid tar that wont mix with your turpentine. Some guidance: Read the Bass book by Roger Hargrave - starting at p121 Weigh your ingredients and go for 1:1 to start It may be useful to start with larger quantities - keeping a consistent temperature with smaller quantities can be difficult You should not need to go over 200 C at any point to make a good solvent free varnish. As a point of reference here is a quote from the Bass book that refers to how the varnish ingredients may have been put together: "The method(s) I used for combining these ingredients was based on two or three further snippets of in- formation. The first of these concerned the length of the colophony molecules. These were found not to have been significantly altered. Accordingly, White had concluded that the colophony had not been cooked at a high temperature. He suggested that it had probably been heated just hot enough and long enough to blend it with the oil and mastic. His conclusion about the mastic was that it had probably been added as plasticizer, last of all." The Bass book and Gary Bease varnish making article published in the Strad should be required reading for anyone attempting to make thier own varnish
  15. 1/132 looks like it could be spruce
  16. With over 10M views alone for this single video - she may be the highest earning violinist in the world
  17. YES Thank you! it is possible that classical varnish wasn't formed (if that is the correct word) - just heated long enough to melt the two ingredients together. (need to look up the reference but i think it was Raymond white who referenced this) Also for the fun of it one can try pulverizing dry (cooked colophony) and mull into linseed oil -- surpassingly one can actually make a serviceable varnish this way. Although it takes a long time to actually mull the colophony fine enough to clarify in the oil...
  18. Stunning work Guy. Looking forward to your article
  19. Colophony that has been pre cooked for colour - it is all in the Bass book. Important part is weighing the ingredients. Baroque's experiment with 100ml of resin and 20ml of oil will result is a solid mass after cooling.
  20. Hello Baroque. I'd say your quantities are off. Try weighing your ingredients and shoot for a 1:1 ratio to begin. e.g. 100 g of prepared resin mixed with 100 g of oil. As for heat - Look up FredN's comments on temp. When you see the surface foam up, the varnish has formed- as it cools you can add turpentine, or not. Also look up the Bass book by Roger Hargrave - he published a recipe for making a solvent free varnish.
  21. some really nice Bergonzi photos here courtesy of Christian Bayon
  22. Eric Meyer - Member here is worth reaching out to
  23. Don't think so. There are a number of well documented cellos (scrolls in particular) that are believed to show Bergonzi's hand. See Bergonzi Reuning p 77. Also have a look at the wonderful b-short form cello played by Robert Max -- Comte de Saveuse.
  24. Nice thanks! I love the nod to Brescia, but at the same time it really looks very personal and distinctive.