Urban Luthier

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Everything posted by Urban Luthier

  1. I'd love a Laguna but they are out of my league. I'm looking at a second hand General unit. Since the General's are Canadian-made, they show up frequently at good prices on the used market in my area. Thanks for the advice on the blades!
  2. Thanks for your advice everyone!! Sounds like the general will do the trick. It has a cast iron frame and wheels so it should be quite sturdy. I'll look into getting good blades as well Thanks Chris
  3. Finally going to invest in a good bandsaw. I'm aiming to pick up a used General 490 (15 in - Canadian made). I can't go with anything larger as won't fit down the stairs to my workshop. Quick question, how much horse power is needed to re-saw cello ribs? Will 1 hp do it? This is likely the most difficult job I'd try in my home shop any advice guidance would be appreciated Thanks Chris
  4. Thanks Michael. Any idea where I could find a reliable plan for a Stainer cello? Would scaling up the outline of a Stainer tenor viola work? I'll follow up with Jose as well on the Rombouts. Thanks Chris
  5. Jose and Fiddlecollector, thanks! The cello by Rombouts featured in the luthier's library looks close in style to Wispelwey's 1710 Rombouts -- a little more Stainer than Amati perhaps? I found this one as well which looks more like a grand Amati pattern. This is a long term project, but i'm looking to create a smaller scale cello in a baroque setup for myself. The Rombouts looks like it could be a good fit. A 4 string version of the 1600 Amati featured in the Strad a while back is a contender -- it might be a bit too small however Chris
  6. thanks Mike Kind of a hybrid approach: i'm using a photo copy of the P form from Pollen's book (i used the right side to make it symmetrical) with the Milanolo Strad poster for arching and the actual corner block curves from the CT of the Titian poster.
  7. Is it just me or are there inaccuracies with the printed outlines on the Strad posters (most of the posters I have, the with and length measurements don't match the poster outline). Every instrument I've made (all 2 of them have been based on posters published by the Strad so I'm not complaining, just want to know if it a printing issue or my ineptitude with using a ruler. Chris
  8. One of my favorite cellists, Pieter Wispelwey acquired a 1710 Rombouts cello in baroque setup recently (he uses a Guad in modern setup as well). You can see the Rombouts cello in a . Looks like a smaller Amati pattern but it is hard to tell from the video — an attractive cello to my eye — even with the vey wide purfling! Anyone have any info on this cello and the maker? Might be interesting to try to emulate something off the beaten track Thanks Chris
  9. have you tried an infill panel plane? I recently started using an infill block plane by a local maker in Canada. The maker swears by O1 steel. O1 isn't as hard as A2 but goes sharper as I understand it. Long story short -- The plane won't tear out on deeply figured wood -- in either direction -- no matter how hard i try. And it takes for ever to dull -- 6 violin ribs from 3m to 1 mm with a finish so clean you can see a reflection off the surface -- and still sharp! I suspect there is more going on here than the steel -- the design of the plane must have something to do with it! I suspect a good infill panel plane would be able to do the same for cello ribs. Buy the way the best stones I've tried for plane blades are shapton water stones -- they cut really fast, but you need to level them frequently Chris
  10. interesting article! so is is possible the lead oxide in the megilp recipe is the culprit in the varnish failure in Reynold's pictures and not the mastic? "A true gelled megilp is made by combining mastic varnish with a drying oil which has been prepared by heating with either litharge (lead oxide) or sugar of lead (lead acetate), and it may be that Reynolds made his own megilp medium in this way. Indeed, one of Reynolds’s notes specifically refers to a varnish made from mastic dissolved in oil with lead acetate…" http://www.nationalgallery.org.uk/technical-bulletin-vol-31/rachel_morrison2010
  11. Yes it is expensive but is there a problem with using in varnish? I'm trying to sort out the fact from fiction with regards to mastic in violin varnish. On the one hand highly respected makers use it as part for their varnish, on the other hand some associate it with the potential negative affects of Melgip
  12. Is there really a problem with Mastic? Mastic shows up in a number of varnish recipes used experienced makers -- Darton's cold varnish, Marciana used by many here and I believe even one of Joe's varnishes has mastic in the mix. Can someone who knows about varnishes set the record straight? Thanks Chris
  13. Hi Martin Measurements usually include the edge, but they can be taking a couple of different ways. Either over the arch or with a caliper. Over the arch measurements are taken a tape measure laid over the arch so they are a little longer. A caliper will give you a more accurate measurement as it is taken point to point. if you want to copy the Molitor, you may have to do a bit of detective work: You may want to consult Pollen's Stradivari forms book which includes life-sized photos of Strad's forms housed in the Cremona museum. You could trace the outline of the smaller B form (MS NO38 I think). For the archings you could consult the luthier's library -- there are several 'long Strads' in their database -- each with highly accurate arching templates in PDF format. Although the Molitor is likely made on the smaller B form, the cross arching are likely similar to the Molitor Roger Hargrave's Strad poster of the `Maria Ex Muir Mackenzie' has an F hole tracing that could be used as a reference The Tarisio photos of the Molitor as so good that you could print some of them life size to study the edgework Chris
  14. Strad made two violin forms labeled B that have the same aprox upper, middle and lower bout dimensions. The main difference being one is longer than the other (Cremona MS NO. 33 and NO 38). Based on the Tarisio dimensions, it is conceivable that the Molitor is built around the smaller of the two B forms. For more info on the long pattern Strads, check out the article by Roger Hargrave on the 'Muir Mackenzie' and Pollens book on the forms of Stradivarius http://www.roger-hargrave.de/PDF/Artikel/Strad/Artikel_0000_00_Stradivari_Mackenzie_PDF.pdf
  15. Would a smaller wattage burner in the 800-1000w get hot enough for smaller batches? 1500w is pushing pushing it for a 15 amp circuit
  16. Thank you John. This is exactly what I was looking for. Chris
  17. What is the actual boiling point of linseed oil? Baese quotes 275 degrees Celsius. I've seen it quoted as over 300 degrees elsewhere -- this seems to high
  18. How exactly does as sand bath work?
  19. So lets talk safety then for making the Marciana varnish (My understanding is that the Marciana recipe is less dangerous than a cooked turpentine recipe like Kevin Hill's or Foulton -- I have no interest in trying to make these). I've read bits and pieces in other threads about safety but it would be good to document agin the measures makers take for preparing a Marciana varnish - Work out doors - have a fire extinguisher on hand -- but what type do you need -- is there a special type for extinguishing oil fires? - Where fire resistant clothing -- is there a spacial type of material that resists oil fires? - Where full face and head protection - are different cooking vessels more appropriate that others? - What else?
  20. Should the linseed oil be sun-thickened for the Marciana recipe?
  21. so would Kremer 60320 fit the bill? http://kremerpigments.com/shopus/index.php?cat=0211〈=ENG&product=60320
  22. is there any reason why one couldn't use regular old violin bow rosin in the marciana recipe?
  23. All the more reason to share opinions on the quality of available reference (either print or digital). For many of us who are amateurs without regular access to good instruments, good photography is critical to help train our eye. I'm exploring several resources - The Luthier's library -- arching images in particular - Tarisio online - The Ashmolean book - I hear the Strad varnish book is very good as well, but I have not personally seen this - And last but not least, the work of good contemporary makers (many of whom post here!)-- honestly, I find your work more useful reference than the ancient stuff as I develop my own style Chris
  24. I'm not a professional photographer, but I suspect the Tarisio images posted online are very accurate to the studio/lighting conditions in which they were taken -- in other words I don't think they digitally enhance the image. If this is the case you do want to print with the embedded colour profile included with the iamge What I was able to achieve was a screen/print accuracy through a color managed workflow and with resolution that is far better than what you will see in a book or magazine. (Also the best results I got were with the Harmon Gloss AB paper -- the Ilford Silk Fibre is wonderful but is too yellow) I agree and disagree Michael. The photo on your home page is wonderful. However, I'm not a fan of the standard 'violin mug shot' you typically see in violin books and many sites. I understand why pictures are taken this way, but from a maker's standpoint -- these images are taken under unnatural lighting conditions that tend to make the resulting image appear flat and saturate the colours. How many of us view us normally view our violins under studio lighting conditions? I'd rather look at pictures like the one on your home page Michael or this one on Tucker Densley's home page I will say I do like the results of the new Ashmolean Instruments book that mixes both styles. Check out the detail photo of the Messie on p. 164-- one of the few violin photos that actually conveys a sense of what the varnish looks like to my eye. Compare it to the Strad poster of the same instrument. They look very different and there are several reasons why they shouldn't. Chris
  25. Just received my copy of the Ashmolean Instruments Book, oh my -- I'm practically speechless! I won't attempt a review, but I will say this is the finest violin book I've ever seen. The production values -- binding, printing, photography, art direction, layout, research and writing etc -- are stunning and set a new standard for me in book production. The photography alone makes it a valuable resource as the pictures extend the viewing experience beyond what you can typically see behind a glass case. As an aside, the packaging was bullet proof http://ashmoleaninstruments.com/ Chris