Urban Luthier

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Everything posted by Urban Luthier

  1. stunning to see it in person (but you have to go to Florence and skip by the David Good photos in the B&G strad varnish book and the S&Z Tuscan violin book
  2. I don't believe there are any soloists around today that could afford a Strad Viola. Peter Schidlof seem to do just fine on the MacDonald and (although he had troubles to begin with) Antoine Tamesit sounds just fantastic with the Mahler.
  3. I think the sad truth is Nathan that professional woodworking, for the most part, now is practiced by a small number of professionals and amateur enthusiasts. 50 years ago most schools taught woodworking and households would have has basic wood working tools. Fast forward to day and I'd guess that most homes don't have basic carpentry tools. Although the current production Lee valley (veritas) and Lie Nielsen are made to much higher tolerances than Stanley's of old, there is no denying that it simply costs more to manufacture product for a smaller audience.
  4. Point of view started by the Hills and repeated over and over perhaps? I've made a couple of violas on the Strad CV form (baroque and modern) that have turned out quite well from a tonal perspective. The Mahler looks interesting too - there is a new and wonderful recording from Tamestit playing transcriptions of the Bach Gamba sonatas. Sounds wonderful
  5. form is ~35 mm (two pieces of baltic birch laminated together) Give how difficult it was to work with this material (at this thickness) I'd use just regular plywood next time.
  6. HI Jim I have made some progress. I was all set to go for the P.G. Rogeri cello based on the poster published by the Strad. I even drew the outline up in CAD (I did increase the length by 5 mm at the top to give it a slightly rounder (and increase the stop length to something more modern). See below. I have the Rogeri template in PDF - just PM me if you want it I did a 180 at the last minute and decided to go with something more conventional - a Strad B from based off the Gore Booth and Davidov. I haven't made a cello before and there are a ton of strad related resources available t
  7. What Jon says above will make linseed oil dry more quickly. You can also sun, thicken but it takes longer. It easy to test the drying properties of oil. simply put a dab on a piece of glass or plastic and leave in a window. Re varnish making, I feel we needlessly cycle here so often on issues, workflow and sound practice that has been so well documented in the forum. The bass book says most of what we need for a practical workflow, Neil Ertz shared a wealth of info. Freds posts continue to enlighten.
  8. Don't forget the fabulous book on the Tuscan Medici by S&Z. Great photos, essays, varnish analysis, CT scans, dendro. More here - you can even hear Fabio Biondi playing the violin https://www.scrollavezza-zanre.com/en/1690-tuscan-antonio-stradivari-violin/
  9. a quick search here may have answered my question
  10. Hi Michael, Sorry for the very naive question but is this K2CO3 the same stuff we use to precipitate lake pigments? i.e. potassium carbonate? any adverse affects of applying such an alkaline substance on wood? interesting stuff, I enjoy your bench thread very much. Thanks Chris
  11. The tenor viola is likely the most 'untouched' strad. teh S+Z book on the Tuscan Medici violin has an exellent survey of the medici set
  12. if you can track down a copy of Gary Bease's book at a local library or university it will help. He also published a Strad article. However the most useful reading will be the varnish chapter in Roger Hargrave's Bass book. (Downloadable from his site)
  13. I was at the ashmolean just two days ago and saw the messiah. I really don't know why theses threads crop up every couple of years. Just from visual inspection alone it would be difficult to disput its authenticity. Plus all the scientific research... if you haven't seeing it, it is worth the trip to Oxford.
  14. One thing to note about the Viotti is the figure on the back is extremely deep. I do agree with Mike there appeares to be burn in. When you look at the section Mike refers to from an angle, however you still get a rich chatoyance affect. To the naked eye It apears that the darkness in the flame comes from clear varnish that soaked in through the ground rather than a coulored stain. Some of the B&G photos show more than what one can observe with the naked eye. It is a remarkable instrument I must have spent an hour looking at it a the RAM when I was last in London. The red colour appears to
  15. Roubo is the source of thr recipe. As noted above, a translation of the recipe is in Roger's bass book. Although he didn't say definitively, Roger did suggest Padding's primer was along the same lines.
  16. nice article here. https://www.roger-hargrave.de/Seiten/english/Bibliothek/Bibliothek.htm
  17. Hopfully it will stand the test of time like the Castelbarco Strad cello. Over 300 years old with not a single crack in the ribs!
  18. Any idea how to identify a pice of poplar by looking at it? I'm curious about the piece I posted above. As for the ribs, I may have enough thickness in the wedge for the ribs, if not I'll look for some nice beech.
  19. Geez Conor that's nuts. Nice for a flat piece of furniture but I couldn't imagine bending or carving this stuff. The poplar I have (pictured above) is halfway between quarter and slab - the light figure has a sort of quilted look. it reminds me a little of the cello you posted awhile back.
  20. Here are mine - cheep, cheerful, easy to use. I made mine out of walnut. I even did a 3d file for folks to print their own