Woodland

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About Woodland

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    Enthusiast
  • Birthday 09/12/1967

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    Great Lakes, USA

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  1. Actually, yes. I just relisted it locally as I currently don't have a box big enough to ship it in. You don't happen to be in/around Chicago, do you? https://chicago.craigslist.org/sox/msg/d/tinley-park-cello-stand/7187292198.html
  2. When having a tooth worked on my dentist inserted a small piece of sycamore as a spacer between two teeth. I'm now reading conflicting things about the bending qualities of sycamore. One wood guide claims it resists steam bending, another says it steam bends well. The wood seams pretty elastic. Perhaps it's a bit tricky to bend but resist splitting? I'm going to find out...
  3. I purchased a set of American sycamore for cello 2 years ago, which the dealer stated was dried in a vacuum kiln 5 years prior. The set contained a generous amount of rib stock and an oversized cello neck block, so I opted to make a cornerless violin from the same set. I took a piece of 4mm cello rib stock and milled it down to about 2.2 mm with my Wagner rotary plane, then cut it into 35mm wide strips with a band saw. Within an hour or two the most heavily, dramatically flecked and wavy grained pieces bowed to one side. The more lightly and consistently flecked pieces with straighter grain haven't moved as of yet. I’ve heard sycamore moves quite a bit if not dry or well quartered, but I’m thinking it’s more of an internal wood stress issue. I’m new to sycamore and it seems very springy, I’ve heard it bends well and also makes great linings. I’ve noticed you can actually feel the stiffness in the pieces that are more heavily flecked with longer and heavier medullary rays.
  4. The AA FBs look like the Madagascar ebony FBs from Concord, which I don't believe are being imported anymore. I purchased one of their C grade cello FBs 2 years ago which had considerable brown streaking in it and was also stained on the playing side. Irene at Concord told me that particular board was over 20 years old. Those look nice and should be quite stable.
  5. Then if it's labeled as such that's where it's made. They other former European-made instruments did change over to Beijing labels, but I haven't seen a 401 or 402 in a couple of years.
  6. Not that I'm in the market for any of their products, but I heard a rumor that the owner retired and the business no longer has an active website. I wonder what has become of their manufacturing equipment? Apparently all the Kay cellos and basses were built with their equipment.
  7. I kind of doubt that production is still in Romania, as the Dunov 140 line was moved to China several years ago. The Wyss and Klier lines are no longer exported "in the white" from Germany, they are entirely Chinese-made now with woods imported from Germany, as the 140 line uses Romanian wood. The tone quality has remained as good, perhaps even improved since the work was moved to China.
  8. I heard from Peter this morning and he said LOB for this instrument is 364mm with a rib height of 34mm, which makes total sense if it's a 5-string. Still substantially shorter and more conventional than the Chanot cornerless on Tarsio listed at 370mm. I think it's wise to keep mine at 356 while I rethink the overall outline.
  9. I do like the Tarisio Chanot proportions overall. I'm guessing it was the likely inspiration for the Peter Seman 5-string that Andrew Bird plays. I think I need to take a step or two back and rework the design to make it less bulbous, as I'm in agreement with jezzupe. Peter Seman's 5-string:
  10. In addition to having a more traditional Strad model in the works, I’m working on a cornerless violin design. Loosely based on a 356mm LOB Strad design, I’m toying with the inner bouts. The original C bouts make for an awkward appearance, which is why the guitar shape comes into play in many models I’m assuming. In the attached photo one can see the proposed outline of the C’s, which would make for a finished instrument C bout width of approximately 105mm. I’m guessing that isn’t too drastic for a cornerless design, but I’m open for input.
  11. That's precisely what Sonowood is: https://swisswoodsolutions.ch/en/sonowood/strings/
  12. Thanks. I actually managed to locate some through my regular independent tonewood supplier in addition to someone here offering me their cut blanks.
  13. This 100+ year old factory Strad copy came into the shop today. It exhibits a stamp on the button that I don't recall seeing before. Any thoughts on the origin or region?
  14. Some use CA glue (superglue) or Minwax Wood Hardener to harden bridges, but you're adding resin and it's likely to change the appearance of the wood. You'd have to experiment on scraps so you can to see what you can get to work. Given that ebony is likely heading for CITES restrictions in the foreseeable future, I've sworn off purchasing any more (rosewood included) and am considering the use of alternate woods for fingerboards and fittings for my "experimental" series of instruments. Guitar makers are using Osage and persimmon for fretboards, and I like the natural appearance of them. I understand that fretted and non-fretted fingerboards will wear differently and require different degrees of maintenance and resurfacing, but I'm looking forward to experimenting with domestic woods, resins and finishes. This week I've begun roughing out a fingerboard blank of black walnut. I feel it will require some grain filling and polishing and perhaps even hardening with resin to add some durability. I've been very conflicted lately as I feel I need to meet the needs and expectations of customers by using quality ebony fingerboards and fittings, but at the same time I feel it's doing nothing to promote the use of alternatives. We have a number of alternatives available for fittings, but fingerboards are extremely limited at present. Perhaps the best options lie with processed materials such as Richlite, Corene and Sonowood.
  15. I also noticed that Bosco Violin Supply in Ontario sells the blanks as well. I wonder what the connection is to Lemuel Violins. I was somehow under the impression that Lemuel was formerly Luscombe, and I see Bosco lists Leif Luscombe as vice president. I also see there is a newer line of Serbian bridges, Korolia sold by Lemuel and Bosco. They make the uncut bridge blanks as well. My tone wood supplier contacted me this morning and has a 7-10 year old maple piece possibly suited for bridges. Looks like I'm covered one way or another.