Jump to content
Maestronet Forums

Urban Luthier

Members
  • Posts

    1677
  • Joined

  • Last visited

Everything posted by Urban Luthier

  1. Wow that is a huge impact - thanks for sharing. Is mic placement one of the reasons that strings instruments don't sound as natural as they should in recordings vs what we experience live in a good concert hall? If it comes down to microphone placement, why don't more engineers utilize a binaural microphone setup (ie. a dummy head with mics placed in the ears. I understand some Chesky recordings were made this way and they 'give the illusion' of sounding quite natural.
  2. interesting demonstration of the affect of microphone placement in the recording process
  3. Guitars as lutes as well I guess- mass produced by the thousands if the Laux Maler inventory is to believed. Not to mention that the tension on some Gambas was so high -- it is no wonder that few survive in playing condition! A humbling reminder for the modern luthier labouring under an ideal of Renaissance genius
  4. You always pick really cool models to work from Christian! - I like the look of this one - is it a bit narrower through the waist than the conte vitale? Looking forward to more photos as you progress.
  5. Gramophone Magazine liked the recording. So did the BBC. Great performer. I saw her in concert before the pandemic doing an all Bach programme. If you don't have a streaming service, you can sample recordings at www.prestomusic.com.
  6. Try looking at the trade secrets publications from the Strad. These are compilations of the best trade secret articles published over the last decade. Many members have articles collection among the best.
  7. Oh David, no need to be dismissive of a craftsman's art by comparing to another. What keeps me coming back here is the excitement of seeing (and hearing about) what others create and how they do it. As as far as transportation goes, unless you have an orange McLaren in your driveway, that wasn't the fancy I was thinking of .
  8. Ha the knurled knob is actually quite sharp - a little too sharp for my liking. A fine tool made by a fine craftsman (Konrad Sauer) who takes as much pride in what he does as any luthier I know. Some invest in fancy cars or motorcycles etc. A small investment in a fine tool on occasion makes me happy (even if i don't use it as much as my LV block plane)
  9. Then don't look at this picture then! A thumb plane made by a friend of mine. Perfect for fingerboards.
  10. Virtually all my gouges are Victorian-era and stamped: S.J Addis, J.B. Addis, Herring Bros, Marples, Ward & Payne etc. The oldest is stamped Gravel Lane, Southwark is an S.J. Addis dating from the 1850's. I was lucky enough to purchase these online or in antique shops for less than the going rate of modern gouges (visiting the UK helps!). I also acquired my scroll gouges from Karlsson at a time when they didn't cost an arm and a leg. Are they any better than modern stuff from Dastra, HT, Ashley Iles? In some cases yes. But they require more time to setup and I'm just as happy using the few modern Dastra and Ashley Iles I have on hand. It is so easy to buy the wrong stuff online. One really needs to feel the gouges first hand and compare to arching and fluting radii of the models you are working from. Like many, I've purchased far more than I need
  11. To accelerate warming with the Lee valley pot mentioned above - I just use boiled water in the double boiler and let it cool for a few min before i put on the warming plate. Since the LV pot is quite thick, i can bring it up to a constant temp in a few min this way.
  12. I have one and it works flawlessly. Just keep an eye on the glue temperature with a heat probe. Looks nice too!
  13. That was a real treat to re-watch! I was talking with RH a couple weeks back and he mentioned Joe and this video. I saw it when it aired years ago but didn't know it was on line. Thanks for posting
  14. I have a 19thc 'german trade' cello that succumbed to the same fate over the years. Winters in Canada are brutal - cold and very dry.
  15. Being in Canada going to Lee Valley is like going to the corner store! I wish they would invest in making knives and gouges out of PMV11. (the 11 by the way is a spinal tap reference
  16. Geez remind me to stop reading your posts David Good thread idea @Rachell66. here are a few of my favourites Melvin Goldsmith Helen Michetschläger Guy Rabut Neil Ertz And if you want to make - Davide's You tube channel https://www.youtube.com/channel/UCggqGrdYUEovaC9UKnSMD3g Roger's bass book https://www.roger-hargrave.de/Seiten/english/Bibliothek/Bibliothek.htm
  17. That would be me! Thanks for the heads up. I've moved my post to the correct thread.
  18. 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.
  19. 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.
  20. The Sacconi book may be useful. It has arching and thicknessing diagrams for the Strad b-form cello
  21. 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!
  22. 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,
×
×
  • Create New...