Urban Luthier

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Everything posted by Urban Luthier

  1. Nice thanks! I love the nod to Brescia, but at the same time it really looks very personal and distinctive.
  2. Really nice work David! where did you draw your inspiration from?
  3. I think so. if you have access to a CAD app or Illustrator you can scale the sacconi drawing to size and see if it lines up with the measurements in the drawing.
  4. folks from the US are getting great value on the Canadian dollar!
  5. I expect many first rate plumbers make more than violin makers. (And a lot of other folks for that matter)
  6. 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. https://www.leevalley.com/en-ca/shop/tools/hand-tools/planes/block/47881-veritas-standard-and-low-angle-block-planes 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.
  7. 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.
  8. I know this is an old thread but here is a scan of the measurements taken by Roger of the Strad Davidov.
  9. 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)
  10. Worth the wait Conor. Stunning wood, workmanship and varnish!
  11. 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.
  12. Nice thing about cellos is that there is such a variety of models that offer a wide variety of tonal colours. I can more easily tell cello models apart by their sound than violins! There's even great variety among strad cellos!
  13. 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.
  14. 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.
  15. 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.
  16. 30% off posters and select books https://www.thestradshop.com/store/product-category/the-strad-merchandise/the-strad-merchandise-posters/
  17. I use Eudoxas (wound gut) on my cello. They have a very smooth warm sound (19th century ideal?). I've seen a lot of early music folks who prefer a more gritty sound. There is a good book called The Baroque Cello. The book contains a series of interviews with players many of whom talk about their instrument, bow and string preferences
  18. Nice colour on the sample above! The varnishing chapter in Hargrave's bass book talks about his french polishing technique. For my part i'm developing a workflow that allows me to leave the final surface unpolished with a little bit of texture
  19. 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.
  20. If you are just star If you are just starting out, personally I'd only use the Strad form drawings as a reference. The hardest thing to get right (for me at least) is the corner shapes -- if you follow the stard froms accurately you'll wind up with an outline with corners that look tighter than what we see in finished instruments. Fortunately the Strad has some great posters with full size CT scans of the rib garland. You can trace it and use it for your template (correcting symmetry or not depending what is important for you. Although the CT is a bit fuzzy the Titan drawing is a great place to start -- it is a nice strad - not to big or too small. The other is the Huberman.