Evan Smith

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  1. Perry Sultana...

    Please don't apologize, everything you do is cool to see,,, I am constantly learning, you spur me on to greater heights! If there is some sorry sack of lumpy oatmeal that gets annoyed by what you do they can change the channel. Any urge that you have to share,,,,, is fine with most everyone here !!!!!! Can I hear an amen !
  2. Secrets in the wood (Stradivari's maple)

    Just looking for something to read while I wait for the minerals to harden up in the wood,,,, I don't get it.
  3. Don Noon's bench

    Looks good Don, real good. I've got two corps in the drying box with no necks, but thankfully the varnish is close to done, good luck!
  4. Secrets in the wood (Stradivari's maple)

    Thank you Bruce.
  5. How to Prevent Bad Cello Accidents?

    If you are this disciplined then,, 1.When it leaves your hand it goes in the case. 2.The latches are latched, because if the case gets moved or you forget,,, and pick it up, it can fall to the floor before you know it. 3.The value your instrument has to you, will directly influence the adherence to rule #1. 4.You might use a cello stand if a rare but dangerous accident is worth the chance you take for the added convenience. 5. Refer to rule's # 1-4
  6. Instrument documentation photography

    I'm not saying these shots are super fantastic, far from it,,, They will have to do in a pinch.
  7. Instrument documentation photography

    I'm not speaking with any sort of photographic expertise, and not pretending to,, I took these shots on the fly with nothing special, camera, tripod, and light. A pro stressed to me that absolutely the single most important item is the light,, and lots of it. When I explained the problems with the flashing of the reflective ground, he said the right light angle is critical,, then let the camera tone it down, and use slow speed,,,,, I was in this situation where I needed to capture some shots,, the wall was non movable as was the hanging light, so I gathered all the extra floor lamps in this guys house and set them up till it looked ok,,,,,, You can see the reflection of all the lights on the side of the pegs, so there you go,,
  8. re-gluing the fingerboard

    My pinky is also the wrong size also,, and while my wife has a gentle and tolerant temperament most of the time,,if I'm pulling an all niter and I get her up to use her pinkies over three times in one night,,, I am in big trouble. If I have two boards I need to glue ready to go I can just use both of her pinky's at once,,,but then again I occasionally have to pick her nose for her,, as she's all tied up at the moment. Sometimes I have doubts about the Da Vinci / Fibonacci way of doing things, it seems that being dedicated to "IT" is not worth the trouble it can cause,, I keep threatening to buy a ruler,,,,,,,,,,,,
  9. Don Noon's bench

    I've notice an otherworldly attraction to quick dry clear coatings in a rattle can lately!
  10. Widely varying rib thicknesses

    In the early years, one of the things I did was to thin the ribs on completed fiddles as I played them, as Conner says it can make a huge difference in the sound. Then I have made them thick and left them that way, I've noticed some Del Gesu's are that way,, and I find other ways to deal with it so they also work. But I'm only talking violins. Just like you said Julian,it seems to be an interdependent thing, at the moment I prefer ribs on the thicker side, I have glued linen all the way around a half dozen fiddles, and my favorites at the moment have had this done to them, nothing super obvious, not bad either, at least with how I do things,,, just checking things out. I've had them in high humidity for a period and they seemed fine, focused and clear with a good solid edge to the sound,, Rambling on,,,, Evan Clueless, in Idaho.
  11. Managing our wood stock - how much wood we need?

    Manifo, I can see you in a dress shirt and tie making your violas,,, all in control,,, steady as Gibraltar, churning out your elegant wares.(should've never shown us the pics of your shop) What we're talking here is sick, just flat out addictive dysfunctional disorder, and I'll bet Zoran will have more beautiful wood for sale that I don't need yet might buy a piece or two just in-case I might live to 125 yrs old or something,,, Ya never know,,,,,I'm only halfway there! Yet even this year I turned down some nice one piece back wood, and a large round of maple with a slab cut off to reveal the flame,,it was nice,, it was free, I though for a minute that I had overcame, then I called about it later that same day, a regular ol simple woodwonker had already nabbed it, oh the shame! when I think about it at this point, I really get a bit sick about not taking it,,, Another mental issue when living in the north country where it really gets cold enough to freeze to death is that power could go out and it might have to be used for heat,,,, just, an early fear that doesn't plague me anymore. "Hello, my name is Evan and I am a Dendro-Maniac"
  12. Perry Sultana...

    Not to butt in here, but just my experience in building on the back, and I welcome any feed back on my method, C is the man! I would encourage it absolutely, with your level of workmanship and steady consistency it wouldn't be a problem at all. Most of my violas have been commissions built on the back, I didn't have a mold for violas for years. I was shocked at how clean and straight the first one came out, all of my unseen fears were completely unfounded. Built on the back can be accomplished as neat and clean as with a mold, no one could possibly know if that is what I want. It is all determined by the straight flatness of the glue surface of the ribs, the precision of the bends, the squareness and perfection of the blocks, and the flatness of the surface you are building upon. It can be built on MDF or on the back itself, anything flat. I don't build on a finished back unless I want the added flexibility to create some twisted looking recipe of coolness. Mark out the line that the ribs will meet lightly glue on the blocks, leaving the backside cut large and parallel to the glue surface of the ribs for clamping. glue on ribs, glue on carefully bent linings Level the gluing surface of the ribs, ready for the top plate Finish the top plate to the point you are ready to glue it on using your standard way of doing things, then attach it remove the ribs with top plate attached, add linings and finish back and glue. Or attach neck first then add the back. I would really like to build one of these things for me to play,,,, Have a ton O fun! P.S Looking at the wood again, isn't it funny how the f's match the stripes on the flawed back wood,,,,, I'd bend it to keep it at the surface as it is, cut the center out a bit add wings to the bottom and keep it. Maybe you want to trade it for something, with the pattern?
  13. Don Noon's bench

    Thank god for your wife's sake! As much as I hate to admit it, I haven't started the scrolls for my fiddles for the competition yet, tops are not finished, no varnish, I'm sick sick sick,,,, help! I keep thinking that I just won't go then again,,,,,,,,,,,,,,if I hurry
  14. Janito's bench

    Nice article, thanks
  15. Julian Cossmann Cooke's bench

    So you've got it centered on the corners, maybe center it on the bouts and let the corners lie where they may, laying out the f's and keeping the center line will be much easier this way, I do love asymmetry, to me it look like this is a case of a long and short upper corner,? Great to see your stuff! Get it rolling brother!