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Urban Luthier

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  1. Looking forward to the third volume! Mike - I bought the latest Bergonzi strad poster - it just arrived and it is a very fine. The CT scans are excellent and appear to be accurate. However the verso the printing is a little too red and pink and IMHO does not give Jan Röhrmann excellent photography of the instrument its full due. The digital shots mentioned above may be closer to what we will see in the book. Stylistically - I find the work of Carlo Bergonzi very simpatico. The poster and article do a find job of illustrating his personal style (from this period at least): Bold edge work with thick purfling well set in from the edge, deep fluting and long corners, simple mitres Low but full arching Higher rib garland with little taper Longer c-bouts, slender outline, slightly shorter body length (but with modern stop!) Wonderful scroll that seems to foreshadow later del Gesu work in some respects Stunning wood and varnish (sadly I've only ever seen one Bergonzi Slightly thicker grads compare to an average strad I have the Reuning book mentioned by Jeffery and it is a very fine book. Worth the investment. i'm sure other members can describe his style more eloquently but i find the poster (and whole poject) a worthy addition...
  2. Nice video. Love the sound of sharp tools. Wonderful texture on the back of David’s violin.
  3. And there is a book on the way from S&Z featuring the Knoop and Kreisler
  4. Regarding imitating old masters, I agree with you Don. Tools for visualizing Class A surfaces can help with the initial shapes but isn't the best solution for visualizing the type surfaces left by hand work. I think this image (Guarneri tenor) says it all. I expect you'll find a way to set up a CNC template to get you 90% of the way there. Pun about Fusion noted ;). I notice the software slows down with each passing release...
  5. This is where I've landed, so I appreciate the validation from another member that what I'm experiencing isn't some sort of luthier-nervosa resulting from an inability to control razor-sharp dubbed gouges with rounded bevels.
  6. Same comment for both - I don't think it is simple at least for me - rounded bevels on gouges and knives can be razor sharp and cut wood but I find dubbed bevels change the 'geometry' of these tools in a manner that makes it difficult (for me at least) to control for precision work.
  7. I've had a hard time learning how to work with knives. I used to sharpen a micro bevel as it is a natural way to get things really sharp but I was always frustrated that I couldn't work with the accuracy and precision I wanted with a micro bevel. Like Jim, I now sharpen knives with a flat bevel only. I use straight knives with a sort of shearing motion (not sure if this is the right word)-- drawing the bevel down and forward along the wood face i'm trimming. It helps improves accuracy (for me at least) l'd really like to hear from others on this topic as well
  8. I wonder what others do but I now hollow grind all my plane blades at 30 degrees (even block plane blades) and sharpen free hand. I find the a consistent blade angle helps muscle memory training. I also find it easier to get a burr honing a hollow-ground blade free hand. I've never really mastered using a honing jig - i have trouble with consistent registration in the jig and wind up with a bunch different angles on the bevel after several uses
  9. I think you'd need to start on a 1000 grit stone to remove the mill marks before you move up to the 4K and 8K. others have noted this above but if you put a tiny back bevel on the face of the blade (the side opposite the bevel) you can save yourself a lot of work. some achieve this micro-bevel on the blade face by using the ruler trick - I use one of those thin rulers (got mine at Lie Nielsen) and place it under the blade at one end of the long edge of the stone and draw the plane blade up and down the length of the stone at the opposite end - this creates a micro bevel at the cutting edge because just the very tip actually touches the stone. Some pull the blade off and on the stone to achieve the same.
  10. I agree. regarding the the decorated Amati's - it seems logical they would have applied some sort of gesso to isolate the bare wood from the painted layer and provide a surface to paint on. Standard working methods well documented in many period sources. Are there any scientific studies of the decorated Amati's? I agree with Manfio, they have a really special quality
  11. Any thoughts on the research shown in the wonderful Guadagnini book by S&Z? Analysis suggests the use of a pore filler.
  12. I'm relying less on the wheel and compound these days. I guess i've been a bit to aggressive but i find that after repeated honing on the wheel, my gouge bevels became rounded (dubbed?) and although razor-sharp, became difficult to use. I do most of my gouge sharpening on the stones now and very light honing on a leather strop. 10x mag and a bright light makes it easier to see that ones bevel goes the way to the edge of the cutting edge of the gouge
  13. Really nice to see your progress Jim! The back looks stunning!
  14. I've tried applying the POP wet (mixed with water like what Roger showed in the bass book) and mixed with varnish also discussed in the book but not illustrated - found the latter easier for me Wear a mask - the POP stuff is really fine and probably not great to breath in!
  15. Do a search for mastic varnish and Michael Darton. I made some years ago - lots of fun and looks really nice. Way too soft and fragile for my liking.
  16. Really nice work! Great to see your creative process
  17. Great reminder of how lucky we are to have a such an great community here at MN My question(s) for those who continue question the authenticity of the Messiah is always: 1) have you been to the Ashmolean? and Have you seen a Vuillaume strad copy? Perhaps it's time for a 'locked' Messiah sticky with links to credible scholarship (much of which is referred to here and in other threads) - might be easier to point folks to a reference than having interesting conversations derailed.
  18. Fascinating Christian thanks for sharing! What are your design and engineering objectives? Increased response from a loudness perspective (projection)? Enhancing certain frequencies i.e. around 1K? strength vs weight? Other?
  19. Another recording with the Cannone featuring Francesca Dego on the Chandos label
  20. it appears their email address isn't working either info@klensmide.se
  21. A comparison of various sharpening media by grit size. Valuable resource courtesy of Lee Valley https://www.leevalley.com/en-ca/tools/grit-charts
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