Urban Luthier

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Everything posted by Urban Luthier

  1. Get well E. Lovely work hope to see more soon
  2. These are really really nice, thanks for pointing them out E. Probably a bit pricy for my first venture. But will book mark these for future projects.
  3. thx Jackson -- I looked at these - some nice product. For violas however, most resellers don't have any stock! Being in Canada ordering single items from the US or Europe can be very expensive with shipping. a $30 winds up being $70-80 dollars.
  4. I started to so some research on baroque fittings and I'm having a hard time tracking down baroque style viola fittings. I will make the tailpiece. Does anyone have a reco for good quality but affordable pegs and bridges? At this point I may have to cut my own bridge from a blank, but I have neither the toolset nor the skill to turn my own pegs. Since this is my first go at a baroque instrument, I don't want to spend a ton. Any recommendations would be appreciated!
  5. Some work in progress varnishing shots.... this is my third and the second time I've used an oil varnish. Still lots to learn about application, texture and managing colour. I'm having a hard time getting the camera to focus -- the varnish is quite transparent.
  6. Cool. Large enough for a viola or only violins?
  7. thanks for your kind words everyone! Jim, scroll was mostly gouge work, the larger surfaces of the volutes were scraped clean. The area around the top and front of the flute was finished with a knife. The volutes and around the eye and volute as it heads into the pegbox is gouge work. This is my 3rd so I'm really just trying to figure stuff out as I go. I used the strad template to layout the scroll but i didn't do a great job scraping off the compass marks. The varnish has seeped into the compass pricks and gouge facets -- it looks unsightly to me right now Hopefully it will tone down as I add colour to the varnish.
  8. Funny that this topic comes up every now and again. Both the research into the working methods of the Cremonese makers and the Strad templates themselves show these makers strove to create symmetrical looking product. Asymmetry was simply a natural by product of their working methods. Apart from the obvious extreme of late Del Gesu work, I think these differences get magnified in our 'age of the laser'. I don't see any great asymmetry in the Lady blunt for example Personally I don't try to create copies or mimic asymmetry (if i did in my case my copies would be called caricatures!) I simply try and work as neatly and cleanly as I can, learning as I go. Asymmetries occur naturally in my case.
  9. Nice work Jim. I like the look. (i feel your pain, This is a tough one to colour match. it seems as if the colour on the Amati comes from beneath the varnish itself
  10. The ground really brings out the nice quilted effect!
  11. Nice -- I now how much work it is to programme the CNC machines to get them to do exactly what you want
  12. I think it is more half position where the paranoia comes from. Plus the fact that the chin of the scroll on the baroque originals sits almost a cm below the line of the nut. (Although Antoine Tamestit seems to get along ok with the Mahler strad which is set up this way) You are right of course the easiest thing would have been to do a violin style pegbox on a correctly proportioned neck -- which would have obviated the need for a t-nut altogether. I just liked the look of the cello-style pegbox and wanted to give it a try
  13. Thanks! I'm going to experiment by grinding a couple of gouges back a bit from about 28 to 25 degrees
  14. Hi David, what is the advantage of a 30-35 degree angle? I've been doing about 27 degrees (advice from wood carvers). Is 30-35 better for our purposes? More durable edge? Longer life?
  15. If I had a studio like that, I'd never leave it!
  16. I find gouges the hardest thing of all to sharpen -- I'm going to try your rolling push method next time. Thanks for the tip.
  17. Well it has been a good learning experience nevertheless (this is my 3rd instrument). I will look at drilling the peg holes before I install the neck. next challenge will be to figure out how to map them in this rather unusual configuration. The C peg will likely need to be higher than the centre line
  18. I have the same issue photographic instruments -- these issues aside, this is really nice work.
  19. I spent a few min paring back the bottom face of the pegbox wall to about 4 mm. Kind of in between the Medici and Cassevetii shown above. Hopefully it will be enough to allow the strings to clear. Wont know for sure until i do the setup. Is the current setup of the Archinto Hill's work? I'm sure there is a logical reason for it, but it seems a bit odd to cut grooves though the top of the t nut into the pegbox itself for the strings to ride.
  20. As noted above the T nut is to allow clearance for the left hand so it doesn't bump into the checks of the pegbox when when playing in first and more importantly half position. Looking at these pictures of the other strad violas it is possible the bottom of the pegbox wall was pared back during conversion to help overcome the issue I've run into by copying the Archinto setup. Something I'll likely do