Urban Luthier

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Posts posted by Urban Luthier


  1. On 9/5/2020 at 12:34 PM, J.DiLisio said:

    I’m just putting the finishing touches on the baroque del Gesu model.  The loudness and depth of the full thickness plates is really eye opening. There was a bit of adjustment in the white to open it up, mostly around the channel and c bout ribs but the back is about 6.8mm and the top around 3.5 at the thickest points.

    I just put in a small amount of scoop to the fingerboard and that made a significant difference in feel.  The last thing that needs attention is the saddle that I had based on the Chardon del Gesu. I realized that the sides should have a wedge shape to keep it from sliding down with the pressure of the tailgut.  

    I’ll post more photos once it’s all polished up.

    CB177795-563E-47BE-AB42-48FC017F8513.thumb.jpeg.dae8525d85342796af226ac0ff3dbec1.jpeg

    nice work - love the setup


  2. 14 hours ago, David Burgess said:

    I think Hargrave once posted here that he thought original baroque neck projections (fingerboard height measured at the bridge) were about the same as modern necks today, and I have no reason to disagree.

    Roger argues the same for the rest of baroque setup in his articles published in the Strad a few years back. I haven't read the current Strad letter exchange, but if it is about  saddle hight - the argument is the same. Quote from Roger's original article

    "BAROQUE TAILPIECES varied considerably, from flat inlaid maple to slightly arched solid ebony. However, in most cases the tail gut passed over a bottom nut or saddle that was initially no higher than the belly edge. The gut entered the tailpiece from below, effectively lifting the tailpiece to the height of the modern saddle. Making and mounting a Baroque tailpiece in this way creates a string angle at the bridge that is entirely similar to the modern angle.'"


  3. 16 hours ago, Don Noon said:

    Looks very Messie.:)

    I would like to see a short video of it tilting back and forth, to see how uniform the flames look as they move to their extremes.  Whenever I try to put color on the wood, there's always some of the color that hangs around in the flames and doesn't move, and I'm trying to avoid that effect.  I haven't seen the Messie in person; maybe it has the colored flames... but the Cremonese I have see don't have that.

    no burn in on the Messie as far as i can see - I've seen it multiple times 


  4. 21 hours ago, Michael_Molnar said:

    I am still slowly working on the Coronaviolin. Medical treatments have exhausted me. Nevertheless, I continue perfecting the varnish system that, I believe, Stradivari most likely used on the Messiah and some Golden Period instruments. As you know, I am a proponent of a dichromatic aqueous ground. Here are some photos of it with a casein overcoat, no varnish. The first two are the same batch process, but the third is a slightly different process.

     

    B8062A21-DE58-4D7B-9FDA-573DCD6C3585.jpeg.30365aaab8072572a849ece1294be9ea.jpeg54200D0E-3359-431C-BFE7-261C24072E86.jpeg.d49cc264d1eea174d8231a6c0ae9cbf4.jpeg31DFA321-B620-4F23-852D-DB02C6DEFDAF.jpeg.804c6da74d08ea54816b70f503f957b7.jpeg

    really nice - i don't think one could ask for anything better. you've nailed it from a visual perspective in my opinion. 


  5. On 6/21/2020 at 10:00 PM, Michael Darnton said:

    I've already mentioned my current bench, 18x48 inches (Amazon, $120) in a 4x5 foot basement cedar closet. The tool box is two feet wide, for scale. No cellos allowed. It's working for me. 

    20200521_112237.jpg

    wow - this is the coolest small work space i've ever seen!


  6. On 6/11/2020 at 2:19 PM, MANFIO said:

    The details we see in a painted violin will not be noticed by 99,9% of the viewers,  now and in the past.

    Even professional musicians, even soloists,  that pass 8 hours a day with a violin in their hands will not have the trained eye to "see" the details a luthier can spot. 

    Do you think the cardinal who commissioned the work wouldn't have noticed the how the violin was depicted (form and playing posture)? What about the cardinal who purchased the painting afterwards? 


  7. 5 hours ago, Davide Sora said:

    From my observations, it seems to me that Stradivari always left a sharp edge at the end of the pegbox and that it softened just a bit the inside edges of pegbox walls, without making a real bevel.

    Here two outstanding example: Cello Mediceo and Viola Tenore Medicea 1690

    Instead, I associate the bevel on the inside of pegbox walls with Guarneri del Gesù only.

    Always ready to be proven wrong...:)

    I agree with Davide and David - I looked at the photos taken under UV light of the Strad Messiah and Tuscan tenor  in the B&G monograph -- varnish can be seen right up to the edge of the pegbox wall (sharp at the top and slightly softened on the side walls). Looking at photos can be deceiving as one can easily miss-interpret the flair of the side walls of the pegbox wall as a chamfer in a low res image. here are my own photos of the Messiah

    _DSF4025.JPG

    _DSF4022.JPG