Urban Luthier

Members
  • Content Count

    1463
  • Joined

  • Last visited

Everything posted by Urban Luthier

  1. Try flushing your history and cache Jacob
  2. Roger, Berl and anyone else who's used the Plaster of Paris as a ground, Can you share more info on the type of product you used? All i can get access to locally in Canada is stuff from the building store -- marketed as "fast drying" or from the art store Called Burma casting plaster which has volcanic ash added Would either of these work? Chris
  3. Also on the topic of construction methods -- your bass Trevor looks like a gamba shape. I've heard them described as corner less -- but that is crazy as this shape has corners also. At any rate gamba's like the shape of your bass were typically built without a form where the outline is traced on the back and the ribs are bent to the outline. I have no idea if gamba-shaped basses were built in Cremona and if they were what the construction method would have been. A part from what you've noted above Roger, would you know if the Cremonese ever used a form-less construction method for bass sized instruments? Chris
  4. This is really cool Trevor, would you be up to starting a separate thread so we can see your progress? Many makers have a "bench" thread so we can look in and comment on what's going on in their work. Best Chris
  5. I have a piece that looks very similar (saving it for a 1 piece mandolin back). If i'm not mistaken, the quilted effect only appears on the slab. I'd reach out to someone like Bruce Harvie who really knows his stuff to learn more Chris
  6. Bass aside, your garden looks lovely Roger looking forward to the varnishing process (of the Bass, not your garden) Chris
  7. Your Strad purfuling tools Roger, are also works of art in their own right -- both as functional tools and historical reconstructions. Does a purfling tool need to be as sophisticated as the Holtey desing? Clearly not, Peter and Berl have shown designs and mods that are functional and have their own sense of beauty. I purchased one of these simply because I love the look of it and I admire Karl's work -- yes I'm a tool geek, I confess. The handle wood is "Dalbergia Cubiquitzensis" which is from Guatemala. Karl Holtey turned the handles himself. It looks as nice as any Brazilian rosewood I've seen. The tool is very flexible, very comfortable to use, and the registration is rock solid! I expect it will work on a variety of applications on violin, guitar and mandolin family instruments. (Apparently Karl designed the original for guitar maker Zachary Taylor). I noted this above -- if you want a depth stop on your purfling tool, simply flip one of the blades upside down and set it to the appropriate depth! The blade on the IBEX is thick enough that it acts like a skate. It works on the Holtey tool as well Best, Chris
  8. nothing wrong at all! but no one is manufacturing one and i don't have the time to build one. an easy trick for a depth stop with the IBEX is to flip one of the blades upside-down and use it as a stop gague
  9. Perhaps they could. With a limited run of 100 for this particular tool however -- I expect there is little profit for either party. Given the attention to detail, the hand work involved and lot size, I think the price is reasonable. Holtey is no different than many makers on this forum, he makes a quality product with an obsessive attention to detail. His partnership with Veritas on this particular venture, will I hope bring his work into the path of those who might not of heard of him before and open the door for future projects.
  10. the blade shape of the Ibex cutters is all wrong. They should be arrow shaped so one can use the tool in both directions
  11. Personally I think it is great that Lee Valley / Veritas is partnering with smaller tool makers and I really hope to see more of this type of venture!
  12. Very interesting partnership with tool maker Karl Holtey and lee valley / veritas. Run is limited to 100. Looks like an excellent tool!
  13. Lovely Christian! I look forward to the article in next months Strad on 'your workbench' Chris
  14. thx. even at a 1000% magnification it is impossible to tell if the purfuling is a single black band
  15. Anyone have the Strad Calendar from 1991 fiddlecollector notes above? it would be great to see a picture of this instrument. Out of curiosity, what form was the Romberg built on? I though the shorter Strad cellos (like the Saveuse) were much later (as an aside it looks like the Chi Mei also has the Pawle Cello -- pictured on museum's website here -- it looks to be a B-Picolla form cello.) Best Chris
  16. The Kremer linseed oil I have is 'low acid', at least that's what it says on the bottle. Is that what they mean less linolenic acid?
  17. what about an artist's fixative spray? something like this http://www.dickblick.com/products/winsor-and-newton-artists-fixative-spray/ best Chris
  18. For those of you like me who can't make it to the exhibition, I highly recommend the catalogue. Mine arrived today and it is a bargain at £60. (If you are wondering about the format of the book it is 12 in by 9 in and 226 pages). Comparing this exhibition catalogue to the Ashmolean musical instruments book -- Both were printed and bound by the same firm in Italy. Both feature the same photographer, designer and in fact many of the same images are reproduced in both books. The quality of the images and colour fidelity printed in the exhibition catalog are very close in many cases to the more lavish Ashmolean musical instruments book (the colour of the Cipriani images for example is virtually identical to the images in the larger ash book). That's saying a lot because the Ash musical instruments book is not only the finest violin book I've seen but the colour reproductions are the best I've seen in any publication. The production values of this exhibition catalogue are excellent. The design, layout, essays and photography are all first rate. Highly recomended! Chris
  19. i'd love to learn more about the making cold varnishes -- is it possible to mix pure turps, colophony and linseed oil together cold and get a decent varnish? I tried the mastic recipe quoted in Michelman as a class 2 varnish (sometimes referred to as Darnton Mastic varnish) but the dried varnish imprints too easily. Cheers Chris
  20. the viola sounds nice -- is that a Klotz as well?
  21. and he is Canadian too, which is nice. for those of you haven't seen this CD/DVD set, it is worth checking out -- http://www.onyxclassics.com/cddetail.php?CatalogueNumber=ONYX4038
  22. Try and find a copy of Hans Weisshaar's Violin Restoration book (it might be available at a local university library). There is a lot of practical advice there. Good luck Chris
  23. I wouldn't use edible linseed oil. I believe many here use the cold pressed linseed oil from Sweden carried by Kremer