Urban Luthier

  • Content Count

  • Joined

  • Last visited

Posts posted by Urban Luthier

  1. 19 hours ago, David Burgess said:

    "Bergonzi's hand" in Stradivari instruments remains rather controversial, does it not?

    Don't think so. There are a number of well documented cellos (scrolls in particular) that are believed to show Bergonzi's hand. See Bergonzi Reuning p 77. Also have a look at the wonderful b-short form cello played by Robert Max -- Comte de Saveuse.

  2. 6 hours ago, martin swan said:

    I once asked Christophe Landon why his violins were so expensive ($70k at the time) and he replied immortally "Sexy girl doesn't marry plumber".

    I expect many first rate plumbers make more than violin makers. (And a lot of other folks for that matter) 

  3. 5 hours ago, tartarane said:
    I was thinking of this plane which seems to be an inbetween  size
    cuttiing angle is low
    the problem is if the screw holds really well
    By the miniature plane version ist is not the case
    thank you
    Due to its blade width of 21.5 mm, this compact pocket plane is ideal for sophisticated work in model and instrument making. Combined feed and lateral adjustment lever. Non-adjustable mouth. Blade angle 15°, bevel angle 20°. This results in a cutting angle of 35°.
    • Blade material PM-V11™
    • Blade width 21 mm
    • Blade thickness 2.7 mm
    • Overall length 115 mm
    • Weight 256 g

    I have the stainless steel version of this plane (same as @MarkBouquet notes above). This is an excellent quality tool and I use it all the time for trimming jobs. Not sure if it is best suited for bridges and shooting finger boards. I'd look at the Veritas high angle block plane. It is a full size block plane but I've seen many pros use it for the purposes you looking for.


    I have one and it is the single most used tool in my shop - i use it for everything from thickening ribs, fingerboards, bridges, flattening rib garlands, prepping neck stock.

    the PMV-11 steel takes a keen edge and stays sharp a long time.

  4. Could you send a link to the plane you are looking at? Most of the Veritas block planes are bevel up with a 12 degree bed and 27 degree bevel. 39 degrees could give you tear out when working with difficult hardwood. You could sharpen a steeper bevel on the blade.

  5. 6 hours ago, Conor Russell said:

    ...I like treating the spruce fronts with the wet slurry.  For some reason I think it has acoustic  benefits, although  I dont really  know. 

    I 'think' the water slurry helps carry the POP deeper into the spruce fibres than the oil paste method does. I tried something similar on my last viola (Given that Roger describes both workflows in the bass book I figured there was no reason why one couldn't use both on the same instrument)

  6. I know this is an old thread but I think it wold be helpful for the English speaking industry as a whole to adopt the terminology used in the IPCI Technical Schemas and Diagrams. This publication has one of the most rigorous and disciplined approach to research I've seen in our industry. Since the editorial board is made of respected experts (some of whom are members here), personally i think this is as good a standard as we can get.

  7. 12 hours ago, MANFIO said:

    I would not round the top, the way it is in the original is better for the basses.

    The 1717 P.G. Rogeri clearly shows a sunken top around the neck. Perhaps caused by poor restoration at some point in its life? The so called Lancashire Strad by his father was likely built on the same mould and doesn't show the same sunken top. Adding about 5 mm to the top of the 1717 will help correct this and still retain the flatfish boxy look.

  8. 13 hours ago, MANFIO said:

    The Pietro Giacomo Rogeri 1717 cello published in a Strad poster is very nice too. It is square, with wide upper bouts, a bit on the small side, and with parallel f holes.

    I drew this one up in CAD also -- I like the model - the wood is spectacular and the arching is very nice. There are many videos and recordings of Enrico Dindo playing  it. Couple of gotchas to watch out for in this model. The string length and stop to neck ratio are a little different than what many consider standard. Since the top where the neck joins the body is concave, one can add 5 or so mm to help correct and increase the stop.

  9. I started a cello loosely based on the Strad B form (Davidov / Gore Booth). Like you I laboured over the model choice and worried about sound considerations -- I even drew up different models  in CAD. In the end, I went with a strad and did the outline by hand from Roger H's Strad poster. There is simply more information available the Strad B form. (Image archives, Sacconi arching and thickening etc) 

    What I've learned so far is that for the first time cello maker, there is a learning curve. Unless you have access to a good shop (with a larger and accurately setup bandsaw), making the form and preparing the rib stock is a huge effort. Bending the ribs takes considerably more skill and patience than a violin. I'm finding the whole effort of cello making very physically demanding. As time goes on, tasks are taking less time but starting out was a huge effort.


  10. 3 hours ago, HoGo said:

    Looks good as a source. Are the scrolls actual outline or just generic scroll with bunch of numbers?

    What is the back length / stop of that one? Which del Gesus are the "short ones"?

    All of this will be on the poster. It is worth purchasing a couple of the strad posters - Titian, Huberman, Viewtemps, Brusilow are good ones with CT scans. The Dancla is a good poster also but the violin in HUGE.