Urban Luthier

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Everything posted by Urban Luthier

  1. Thanks. So if neck joint is a dovetail, I think in pure woodworking terms it would be considered a tapered sliding dovetail joint. Correct?
  2. Is the violin neck joint actually considered a dovetail joint? or is it a dado joint? I don't know so I'm asking the question.
  3. begs the question, why on earth do we need any more violins on this planet?
  4. A fine recording on the 1690 Tuscan by Fabio Biondi https://www.prostudiomasters.com/album/page/34341
  5. I'm speechless. Simply remarkable. Thank you for sharing
  6. I got one of these based on your reco -- it is large enough to do a cello cost less than $100. It would have cost me more in lumber supplies to build a cabinet this size
  7. I have some Swiss pear that I'm planning to use for a large viola one day
  8. I can only speak for myself... I just finished a viola that has extremely fine growth (many early strads are like this -- the Archinto viola for example). I used a typical solvent free oil varnish with no sanding or polishing between coats -- the resulting surface texture on the belly is very subtle. Quite different from other instruments I've made with wider grain that results in what some call a 'ripple' or 'corduroy' effect - i.e. the summer growth swells - similar to what one sees on the Messiah strad or the Guarneri above
  9. Hi Davide That's the one i was thinking of yes. @jacobsaunders I was referring to page 190 of the Segreti book, although i think the same instrument is pictured in the book you have also
  10. I think the Sacconi instrument in Cremona is the one pictured in his book (baroque setup decorated in the style of the Hellier Strad?) see p. 190. Honestly it has been 20 years since I visited Cremona so i'm not entirely sure
  11. Boy, mastic is expensive isn't it! I tried it once -- followed Michael Darnton's instructions exactly. The varnish turned out really well. Smelled nice also! I found it far too soft to use as a violin varnish however
  12. Try the bass book by Roger Hargrave it is posted on his website. It has a recipe and working methods
  13. There are a couple of folks part of the MN community who learned their craft directly from the first generation of professionals who mentored with Sacconi -- so they are in a far better position to comment. (you might want to do a bit of research to find out who Jacob is as well). Don't underestimate the value of MN and those who post here. With a bit of searching you can uncover interesting detail that extends our knowledge beyond what's written in Sacconi's book. Apparently his views evolved over time like many.
  14. Apparently even the Lady Blunt hasn't escaped the polishers rag. Apart from the Guarneri above, does anyone know of any truly unpolished historical examples? the Medici instruments perhaps?
  15. Fat over lean is an historical painting term -- if one puts a thin coat of varnish or oil medium over a thick one, the top layer will crack as the thicker (slower drying) layer below dries.
  16. looking forward to seeing photos from those who go! there are many cameras that can take excellent photos in low light - my fuji x100 for example can practically see in the dark. If visitors don't have a good camera perhaps convince a friend to who has one to join you!
  17. Hello Evan, it is a photo of the Andrea Guarneri tenor viola in the Shrine to Music ND. I agree it is wonderful
  18. Even the Messiah Strad hasn't escaped the polisher's ra - although the polishing looks minor. So many wonderful pictures are available from public websites of major collections. This is one of my favourites - just Beautiful!
  19. I've done this as well. As long as the temperature is brought up slowly there shouldn't be any problem. The real danger is going from hot plate to cold surface -- like what Jacob S described above.
  20. I've done this as well. As long as the temperature is brought up slowly there shouldn't be any problem. The real danger is going from hot plate to cold surface -- like what Jacob S described above.