Jump to content
Maestronet Forums

Urban Luthier

Members
  • Posts

    1633
  • Joined

  • Last visited

Everything posted by Urban Luthier

  1. Wondering if anyone has tried the spyderco ceramic stones I posted above They are made from an ultra-hard alumina ceramic material and require minimal water for sharpening. I've been experiment with a couple of slip stones to hone at the bench in-between sharpening. Since these have different properties than normal water stones, it is taking a bit of time to get use to them, but they look promising.
  2. deleted - posted in wrong thread
  3. Has anyone tried the spyderco ceramic stones? These are ultra-hard ceramic stones that require a bit of water and drop of soap for lubricant and clean up with soap and water - virtually no mess. I bought the the corse and fine slip stones to use at the bench to touch up between full sharpening, early testings has been very promising.
  4. The Sacconi book may be useful. It has arching and thicknessing diagrams for the Strad b-form cello
  5. I haven't read the whole thread Trevor, but next time an easy way to do this is to mount your jointer in a vise upside down and take both halves of your top and draw them down over the blade with light even pressure. (Your blade needs to be flat and as sharp as you can get it). Any inaccuracy from left to right will cancel out. be careful not to apply two much pressure at the beginning and end of each pass over the blade. Test accuracy by putting one half in the vise and use the other half to test for front to back and side to side (there should be no rocking). If it is a perfect fit you'll feel a bit of suction as you place the two pieces together. Make a pencil mark across the front so you know where to line up when you glue. Once you have a perfect joint - especially with spruce you have to glue it right away. So your glue has to be ready once you finish the joint. Any change of humidity and temperature can really mess with you. I warm both sides with hair dryer and pour the glue on the joint with a squeeze bottle. Rub the two halves together for a bout 10-15 seconds and ensure your pencil lines up. No need to clamp - leave it in the vise standing up for a couple of hours and plane flat. I highly recommend @David Burgessarticle on working with hide glue published in the Strad. One of the best in the trade secrets series. Once I started following his guidance, gluing became a lot let stressful!
  6. See this article - a scarf joint in Cremonese work is not uncommon according to the author - the great thing about a scarf joint is that you can precisely fit the corners and even if the scarf itself isn't perfect - you'll cut the low spot when you do the fluting anyway,
  7. This reads like a rather generalized (and possibly) sarcastic statement to me . Not exactly sure what you are referring to. But for the sake of argument, I don't think it is unreasonable to draw the conclusion that certain similarities of the Cremonese arching system can be observed throughout the classical making era from the 1560s to the 1750s.
  8. Davi's post above is very interesting and makes a lot of sense. It is quite possible that the long arch (and overall arching height) was formed by the design objectives and working methods of forming the arch itself. Have a look at this article "Arching, Purfling & Edgework in Cremonese Instruments" Actually i think that is exactly what they were doing. Copying the working tradition of their shop. Andrea Amati was working into the 1570s a hundred years before the first strad. Extreme examples aside, one can easily see a continuity arching from Andrea Amati to Guad
  9. No idea what instrument he played but from the photo it looks like a stunning one piece back cut in-between the quarter and slab. Even from this small photo one can see aspects that have the appearance of historical Cremonese violins
  10. Amati Alard is in the Ashmolean. del gesu Alard is in Paris
  11. l'Orangerie to see the Monets and the Pompidou just because it so darn cool
  12. Cool projection technique!! for the interior layout i simply find the thickness centre per Sacconi, drill down to the max thickness at that point and use series of compass dividers set to the correct radii to mark the central section and lungs on the back. As you carve the lines disappear so having several dividers preset is handy to re-mark the layout
  13. Wow! her work is incredible - thanks for sharing. The images of the f-hole restorations are extraordinary. I can only imagine how difficult it must be to attain this level of skill. In my opinion, restoration professionals working at this level have to be the Jedi-Masters of the luthier community. A whole other skill set than making.
  14. Exactly not really any higher than a typical Strad. The 1666 Amati has a slightly broader recurve than a typical strad made 40-50 years later but again it is quite subtle, not like the Alard WB mentions above
  15. Hey Jim. back height is right around 15 mm top is just shy of 16mm. Overall the arching is a bit more scooped at the corner cross sections and in the middle than a strad model
  16. Amati 1666 copy. Work in progress. Lovely arching model - graceful and flowing with not a flat line anywhere
  17. Thin coats of Holiter varnish applied with your fingers or a pad should dry overnight in a drying cabinet. Heck i could get his stuff to dry to the touch with a few hrs of strong sunlight. if you do use a cobalt or japan dryer and you varnish with your finders or palm, make sure to wear gloves.
  18. Stunning work! The quilted figure is unusual for violins but you'd done a fabulous job make it look so natural
  19. One fine afternoon at the Ashmolean. Enjoy.
  20. I generally use a french curve to modify the curve at each corner following the outline traced by the washer. The corners will naturally trumpet out a bit with slightly more overhang in the c-bouts because the french curve follows a tighter radius. Then square off using a fixed reference point along the centre line.
  21. The wonderful thing about the Ashmolean is that one can see the Messiah in context of dozen or so other first rate instruments. The room is almost always empty so it is easy to spend quality time. Lots can be seen with the naked eye (even in low light) that can't be seen in photographs.
  22. thanks - I got mine at home depot as well - but ages ago and I haven't seen them since
  23. Anyone know where I can find these clamps? Ebay is full off look a-likes but these ones are different - the pads are thicker and the spring tension is higher (just enough to clamp a well fitted lining) but not too tight to leave marks. There are no manufactures marks on mine but they look similar to larger Bessey clamps. I can't find a 50mm version anywhere. Not sure where i got these but I'd love to find more
  24. I really wish we had a 'like' button for posts here. Still laughing!!! I've held a so called Vuillaume messiah copy in my hand. It looked like a Vuillaume. The Messiah looks like a violin from the strad workshop.
×
×
  • Create New...