Urban Luthier

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Everything posted by Urban Luthier

  1. Thanks again for your help Mark! I found a drawing of a Barak Norman in the RCM drawn by Stephen Barber but not the Meares. Also a list of technical drawings here. No sign of the Meares on this list, easiest path i think will be contact RCM directly to find out more
  2. Thanks for this Mark, I've seen Talbot's mentioned in most of the literature I've been reading so this will help. As for which instrument to make? I'm at least two projects away from this so I'm doing initial research now. I have two plans (the Lewis and the 1619 Jaye featured in the strad) My preference is for a mid-sized English bass with a modest string length 680-690mm. The Jaye above is not suitable based on this criteria - the 760mm string length isn't a good fit for me. Anglicizing the Lewis is a possibility, but not without more research. Third option is to look for another plan all together - but unlike the violin family gamba plans are not that accessible to amateurs!
  3. Thanks Ben and Mark -- this is very helpful. The Lewis lower bout in my plan is about 400 mm wide, using your calculation Ben this wold give a rather long neck! The neck length is of the Paris Lewis is 325mm - about the same as the 1660 Meares pictured in Monical's 'Shapes of the baroque'
  4. Looks like you were in a good mood when you did this! is it the Alard?
  5. I have a question about the standard neck to body stop ratio for bass viola da gambas. Most instruments I've seen have a ratio of about .92 or 1:1.08. Does this sound about right to you? I have a plan of a really nice Edward Lewis Bass viol that was later converted to a 7 string. The current string length is a generous 720mm. The bridge sits rather low (presumably shifted down to give more weight to the low A string). As a result the neck to body ratio is different than above. If one were to shift up the bridge up by about 30 mm, the neck to body stop ratio would fall inline with the above. This would also give a more manageable string length of 690mm. Do the ratios about sound right to you? any issue with shortening up the string length in this case?
  6. I really like the first two! personally I generally prefer contraltos. Lovely recording of the same from Magdalena Kozena.
  7. if it doesn't dry with 8-9 hours of strong UV or daylight there is something wrong with the varnish
  8. thanks Guy -- what a great idea! I use the thin stuff for making templates. Laminating 3 layers of the thicker stuff must make a really stable, dense and durable form!
  9. Really nice Guy! -- is that 1/2 MDF you are using for the form?
  10. Love your cabinet. Nice work. Welcome to MN!
  11. from a usability standpoint -- which type of peg do users prefer?
  12. x2. love the organization. Looks like a comfortable place to work. Great light too!
  13. looks really nice Jim! I especially like the gerstner chest. great way to store / and organize tools. I have a small one myself. I try to organize tools by workflow and just pulling out the drawer I need for any given task
  14. Sad news indeed. I always enjoyed Addie's insight. He was kind and generous with his time. His strad artifacts drawing must have took him a good deal of time to prepare and remain one of the most valuable resources posed here on MN. He will be missed
  15. Urban Luthier

    UV

    Interesting and useful experiment. Thanks for sharing
  16. Old thread I know, but has anyone made an instrument from the Henry Jaye (1618/19) Strad plan? Seems like a nice outline, but the string length at 760mm is quite a bit longer than one normally sees for English bass viols 680-90mm.
  17. moistening the end-grain with water or alcohol can sometimes help. As above, your block plane has to be super sharp
  18. Nice scroll -- is that your's or the ceruti original? Hard to tell with you!
  19. anyone try opening up a sheet of drywall, grinding it and using the powder as a filler?
  20. PoP is only one type of filler. There are many you can choose -- I've used cheap Behlen pumice on the last two and it worked out well. I mixed it into the varnish and rubbed it in (see Gegg Alf article in the Strad)
  21. I feel your pain! You could strip the violin and revarnish using another commercial product. HAMMERL makes a volatile oil varnish called A1 which is very easy to apply. They also supply colouring agents
  22. Jacob I really wish the Strad would commission you to create a technical drawing / poster of this instrument. From your photos it appears to be a very fine specimen! We don't need any more Strad posters based on Strads or GDG Looking forward to your restoration notes. This is a really interesting thread. Thanks for sharing
  23. Seeing one of Guy's Strad model cellos first hand I can say his varnish and gentile antiquing are among the finest i've seen! (the cello sounded fantastic as well