Ken_N

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About Ken_N

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  • Gender
    Male
  • Location
    Goodrich, Michigan
  • Interests
    Violin making. Art (just got some oil paints, been doing water color). Driving the back roads. Music, especially orchestral and Christian rock.

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  1. That is one one the nicest ones I've seen here. Excellent photos too.
  2. Of course there is Pete Townshend who sang of a Gibson, without a case. But he didn't have to worry about a bow too.
  3. Ken_N

    New workshop

    Could you add another piece of flashing under the siding that goes down to the slab, and over the edge on top of the other flashing? Then, the wood is sealed from the possibly damp slab, and from the outside rain. I don't know much about construction. But I built my deck, of my own design 25+ years ago, and it's still standing! I like the way the inside is looking. I need all the light I can get.
  4. I've made them 18-19 with light wood. But people are so used to 15 they gasp, like it came down from Outer space.
  5. Julian, The color and texture is quite nice. I've had a couple that got to that point; and then I wrecked them. I'd like to see what you do to avoid wrecking another!
  6. Nick, If you think the edge looks too steep, why not put the angle you like in, and let the edge thin to 3 mm or a little less? The edge looks pretty thick. I'm with Evan, the arch looks really good.
  7. The guitar is finished, and plays nicely. The action now is a bit below 2mm on the high e and a bit above 2mm on the low e. No buzz. I need to fit the truss rod cover still. I broke the head off trying to pound a stuck tuner bushing out. Wailing on in unsupported sounds like a good idea doesn't it? When I glued it back on, it seems like it set perfectly on the vee, but it is off on the short flats some. Maybe it wasn't right, and needed to break off? That's what I'm going with. I guess it's better NOT to tell the things you did wrong, but the gory details are the best part. It's even a bit too far out of the box for guitar people! That's just what was in my head; an Archtop by G.B. Guadagnini as a response to his sons flattop guitars. I even have f holes from one of his cellos on it.
  8. I've been trying to finish up the other loose ends. I took the varnish off the belly of the Gofriller violin. The back and sides were fine, but the varnish scraped off with fingernails on the belly. Don't know why. It only nest to be set up now. The Gofriller viola has a new finish too. It was VERY red, and now it is just transparent red. Much better. I'll have to see how the projection is, because a few have always been stable, never moving at all, and this one had gone low. But I've been really trying to finish the guitar. I used Z-poxy to seal, and like mastic around the inlays. Some magical mastic that G.B. Guadagnini acquired from a time traveler. I sanded through some of the nice golden patina that I had on it from ash water, and cherry chip water, and 2 weeks in the light box. So when I was putting a coat of Z-poxy to get it more even, I got an idea to smear in some Azo Green oil paint. Sometimes impulsive acts pay off. It makes a nice color with the Z-poxy.
  9. Michael, thanks for the explanation of the willow on the back, but the cool plane gouges are on the belly as well. They show the way that the arching were worked. I found this photo of a 1694 Guarneri cello that looks very much like this Masseas. The human gives it a sense of size. The Masseas is shorter in length, and the lower bout is a lot narrower than some that I have posters of. Do you know if the arching is the same style on each, or is it markedly different? This one is in, or was in, Chicago as well.
  10. I found that making an arch top guitar was more freeing, at least if I would have gone with simple cello purfling, and not fussy guitar edge work. At least it is freeing if you look at it like this cello was made. Let the arching flow, use your big tools, and forget the fussy stuff. Yes, you can TRY to keep it clean, but the gouge marks are deep? I'd probably make cellos if I could find a cheap piece of quartered willow or poplar to replace the back I have started, and finish that cello. They look cool, and I'm not a fan of really high notes anyway. I follow the bass line in almost every song. Finding cello wood in lumber yards is even harder than finding viola and violin wood. Everything online is a lot for a first one. It seems like the central area is pretty clean, only the recurve has a lot plane, or gouge marks. String it up in the white, and thin it until it plays and sounds right? Then varnish it and sell it. It would explain instruments that aren't varnished under the fingerboard. I know that some must do that today, but they might clean it up more. Oded Kishony has talked about doing this many times here using a system that could easily be done by ear back then. I even like the shape, and the corners over the usual.
  11. How about not analyzing anything; enjoying the sound, and being blissfully ignorant of modes? No, really. Ken
  12. I don't play, but the Ole Bull sounds a bit louder, and the Plowden a bit clearer. Maybe the strings. The A on the Ole Bull sounds muddyish? when plucked. It's just barely not as bright as the others. It sounds the same bowed. Something that I wouldn't know how to figure out. Ken
  13. Andres Preuss showed 2 Del Gesu models lately on his bench. He said that the Ole Bull looked to him like it never had varnish on it. I just sanded mine all off because my old varnish from 10 years ago was hideous and opaque from to many pigments. I had it smooth, and ready to put something on it. But instead I just left it. This is what it looks like: (yesterday would have been better, it was sunny, but the Ole Bull had no strings on it). The Ole Bull is #6 or #4 I finished about 4 in 2009. Here's my take on the lack of varnish. A guy came around wanting to buy a violin from Del Gesu, saw it on the bench, and fell in love with it. "I want that one right now." "You can't have it right now, it isn't done." "It sure looks done." "It needs varnish, pegs and strings." "I like the varnish the way it is." "I won't give you a discount without varnish if that's what you want. They are $15,000 (he almost choked when he said that) and people are already complaining about my edge work, so I'm not even sure I want to send one out with no varnish." "I'll give you $15,000 and one of my donkeys over there." "Whoa, the wife has been bugging me for a donkey. You have a deal. Go over to Carlo's House of Pasta, and get some lunch. By the time you're done, the strings will be on it." My Plowden that I finished last winter I just finished up redoing the varnish a month ago. I had to glue the belly back on to the lower bout, and I really wasn't happy with ANY of my varnishes, except a couple. Too opaque. So I sanded it back until it looked cool, and polished it. I'm trying for the autumn leaves look. If it looks like autumn leaves of some kind, it is good. Ken
  14. Nice job. I haven't bent cello ribs yet. I have a back and belly roughed in, but the back has a really low arch because I sawed it in half crooked, so I might redo it. I did bend ribs for an arch top guitar with a cutaway, and that was quite an ordeal. One piece on each side, but at least the ribs are only 3" tall! I used cello rib stock ripped in half. I can say that the ribs fairly followed to outline too. But not with a straight face. Everyones work is so much neater than mine. Ken
  15. Andreas, I'll add my name to one who likes the varnish on that last one. It looks like it was just poured over. The Ole Bull has a different look, but they both exude character. That's what I look for. It's good for me, because I only have to try to dial the bad character traits back, and not try to add some! I have been trying some asymmetrical arches and thicknessing to make the bass side easier to move. It has a bass bar too, so it doesn't seem like it needs to be as stiff. Just something I'm trying. Andreas is a great name for a violin maker.