Urban Luthier

  • Content Count

  • Joined

  • Last visited

Everything posted by Urban Luthier

  1. @Baroque temperature aside, your primary issue is that your quantities way are off. There is simply no way to make a useful varnish from 20ml of oil and 100ml of resin. These quantities will give you what you got, a gooey clump of semi-solid tar that wont mix with your turpentine. Some guidance: Read the Bass book by Roger Hargrave - starting at p121 Weigh your ingredients and go for 1:1 to start It may be useful to start with larger quantities - keeping a consistent temperature with smaller quantities can be difficult You should not need to go over 200 C at any
  2. 1/132 looks like it could be spruce
  3. With over 10M views alone for this single video - she may be the highest earning violinist in the world
  4. YES Thank you! it is possible that classical varnish wasn't formed (if that is the correct word) - just heated long enough to melt the two ingredients together. (need to look up the reference but i think it was Raymond white who referenced this) Also for the fun of it one can try pulverizing dry (cooked colophony) and mull into linseed oil -- surpassingly one can actually make a serviceable varnish this way. Although it takes a long time to actually mull the colophony fine enough to clarify in the oil...
  5. Stunning work Guy. Looking forward to your article
  6. Colophony that has been pre cooked for colour - it is all in the Bass book. Important part is weighing the ingredients. Baroque's experiment with 100ml of resin and 20ml of oil will result is a solid mass after cooling.
  7. Hello Baroque. I'd say your quantities are off. Try weighing your ingredients and shoot for a 1:1 ratio to begin. e.g. 100 g of prepared resin mixed with 100 g of oil. As for heat - Look up FredN's comments on temp. When you see the surface foam up, the varnish has formed- as it cools you can add turpentine, or not. Also look up the Bass book by Roger Hargrave - he published a recipe for making a solvent free varnish.
  8. some really nice Bergonzi photos here courtesy of Christian Bayon
  9. Eric Meyer - Member here is worth reaching out to
  10. Don't think so. There are a number of well documented cellos (scrolls in particular) that are believed to show Bergonzi's hand. See Bergonzi Reuning p 77. Also have a look at the wonderful b-short form cello played by Robert Max -- Comte de Saveuse.
  11. Nice thanks! I love the nod to Brescia, but at the same time it really looks very personal and distinctive.
  12. Really nice work David! where did you draw your inspiration from?
  13. 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.
  14. folks from the US are getting great value on the Canadian dollar!
  15. I expect many first rate plumbers make more than violin makers. (And a lot of other folks for that matter)
  16. 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 thicke
  17. 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.
  18. I know this is an old thread but here is a scan of the measurements taken by Roger of the Strad Davidov.
  19. 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)
  20. Worth the wait Conor. Stunning wood, workmanship and varnish!
  21. 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.
  22. 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!