Urban Luthier

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Everything posted by Urban Luthier

  1. +1! I worked at Autodesk for 20 years. I know the Fusion well. I worked on the product (on the rendering side for a short time). it is very powerful - especially if you are interested in additive manufacturing. Although I will caution you, the only way to get 2D drawings out is via a DWF - which is an ADSK propritory format -- if you want to do a traditional 2D print them you need ACAD as well.
  2. adobe illustrator for 2D drawing AutoCAD /AutoCAD LT - excellent for 2D drawing and 3d modeling Rhino - 3d modelling concept design Alias Studio - not for the faint of heart Sketchup - very popular with furniture makers Autodesk Fusion (Free for hobbyists) CAD, CAM and CAE. Currently what I use to make 3D printable templates, jigs and fixtures 3D modelling is fairly easy to learn but one needs to get their head around certain concepts like booleans, lofting, sweeps, trimming etc. Matthew does a nice job of describing the drawing workflow I'm an Ex Alias and ADSKer so I've see them all. Pick a package and stick with it because many of these are now expensive cloud subscriptions
  3. There is a whole chapter on antiquing in Roger Hargrave's Bass Book -- complete with pictures http://www.roger-hargrave.de/Seiten/english/Bibliothek/Bibliothek.htm A good article on antiquing can be found in the Strad trade secrets series by Jeff Phillips and Antone Nedelec. vol 3 p71.
  4. a drawknife and or a scrub plane removes wood quickly and leaves your digits intact
  5. I use this one sold from lee valley, but for some reason it is really really expensive now http://www.leevalley.com/en/wood/page.aspx?p=71362&cat=1,42884,71437 Davide is right, one does need to be careful about how you control the bow saw. Cutting on the push stroke can help, as blow out occurs on the top face which gets carved away. The plate needs to be well supported in a face or tail vice. A coping saw works well also. Press the plate up against the underside of your bench with your knee. I have a band saw for tough re-saw jobs but I just cant be bothered changing the blade and setting up for curved work. For a violin or viola I can have the plate cut out by hand in the time it takes me to setup my bandsaw. I even ripped the ribs for the viola i'm working on by hand.
  6. Hi E. +1 for the GAL plans. I have a few including Plan #40 English Treble 'Gamba after Henry Jaye. The plan is well laid out and has all the info one needs to construct the instrument. I started a project based on these drawings but never got around to finishing it.
  7. + 1. Really beautiful work Christian.
  8. The Macdonald seemed to work just fine for Peter Schidlof.
  9. Funny thing is in this video, Patrick Jowett demostrates bending at 250c! I have this exact same iron. I tried bending at this temperature on a test rib when I got it. It was so hot that it torriffied the maple! I just did a test bend at 170C based on Davide's reco -- I was able to bend much more quickly at this temp -than my usual 150c - no scorching at all
  10. So David and John re your post above... have you noted optimal bending temperature? That fine line between hot enough to bend and scorching? My I've set the temperature at 290-300f (~145-150C) Just at the threshold where water beads bounce off the iron rather than burning up. Wondering if I can go a hotter without scorching. Love your thoughts.
  11. I couldn't agree more. For most of us, it is hard work making a good violin. And it is really easy to ruin your good violin in a heartbeat with an experimental ground or finishing technique. (I speak from experience). For the most part I now stick to tried and true products and methods used by respected makers
  12. Couldn't agree more. The Conte Vitale is a very difficult instrument to copy given the errors present in the original (the middle bouts are not symmetrical -- one side is quite a bit wider than the other) I really wish there were more plans available like the Zanetto mentioned above. Call me a blasphemer but I actually like the Strad CV form.
  13. discussion over here also which talks about the book, some of the findings and the 3d printed casts of the plates
  14. looks like a really nice book. I'd like to order one as well
  15. I used Hammerl dyes and varnish on my first couple of instruments. Easy to mix the dyes and apply the varnish. Colour seems to be quite stable over 15 yr period. However the Hammerel oil varnish is not a traditional oil varnish (at least as defined around here) in other words it is not a cooked resin / linseed oil varnish.
  16. Welcome to Maestronet. I enjoyed the documentary very much! looking forward to the book and the 3D printed plates
  17. Hi Francois Good news! it looks like the order form on your site still refers to the older publication. Will you be updating the form? Best Chris
  18. stewart mac may have something
  19. I like your theory Davide! Looking at the Pollins book, I suspect you are right: it does appear the Pb and P forms are very very close through the upper bout and the waist diverging in the lower bout area where the P form a little longer and wider. Nice to see close ups of the belly in the video -- one doesn't need to be a dendrochronologist to see the fine grained spruce with the faint vertical markings likely comes from the same tree as the Medici viola and even the Archinto viola