Joey Naeger

  • Content Count

  • Joined

  • Last visited

About Joey Naeger

  • Rank

Contact Methods

  • Website URL

Profile Information

  • Gender
  • Location
    Houston, TX

Recent Profile Visitors

2233 profile views
  1. Thanks for your reply Steve. So just to make sure I understand, you feel your finish has low build per coat and is soft and flexible once cured?
  2. Hi Steve, I enjoyed reading your comments on graduating plates using a fixture. I've been wanting to begin bass bar shaping using a similar fixture for a number of years. I have a couple questions about the varnish. Is it fair to say your product is similiar in composition to a typical phenolic based spar varnish? You mention it's colored with transparent iron oxides, but there are six colors available. Are the different colors achieved with differing amounts of iron oxide or are different pigments being employed as well? The availability of transparent colors would be the main reason I switch from the current commercial varnishes I like.
  3. May I ask why you're opting to cook your own varnish? If you're looking for a durable, clear varnish that dries without UV, there's plenty of ready made options. I can personally attest that this stuff works great.
  4. All true for violin. In the double bass world, there are a number of basses being used professionally that are made with so called alternative woods. Both vintage and modern. At the most recent ISB bass making competition, basses made from Mahogany, Black Cherry, American Sycamore, and Walnut won tone awards. It seems to be the case that cellos can also make good use of different materials. Variety makes things more fun.
  5. My understanding is that the ribs play a much larger role in cello/double bass than they do in a violin. This intuitively makes sense, but there is probably more alike than not alike among the four instruments.
  6. At my old job, we used one of these Jet 17" machines. I wouldn't say it's the finest available but it works well. The laser sight is a gimmick however.
  7. Conor, that photo illustrates the problem really well. Thanks for that! I recently thicknessed two sets of poplar rib stock. One was quartersawn canadian poplar, the other slab cut tulip poplar. Handling them side by the side, the slab cut set feels much more resilient. The quartersawn stuff feels downright floppy. I don't know to what degree this is because of the species or the grain orientation, but I'm leaning towards not using the quartersawn stuff at all.
  8. A key revelation for me was the idea that antiquing really isn't about making an instrument look old. It's about taking the attractive features of old instruments and incorporating them into a new one. I'm not quite sure how to explain why that distinction is important. As someone who makes my own models, I don't find the idea of antiquing them strange at all. All I'm doing is taking the visual features of beautiful instruments and creating a technique out of those features. I am under no delusions of convincing consumers my instruments are old. For me, incorporating a bit of distressing into a varnish job let's me add another layer of texture and color which I personally find more attractive than a straight varnish. It's all a balancing act however as I've seen some antiquing work that's really off putting. I also see plenty of straight varnishes where the instrument just looks like a piece of candy.
  9. Personally, I think it gives the pegbox a cleaner look. I use burnt umber instead of black which has a softer look.
  10. Thanks Ben! I haven't worked out a set of 5 string templates yet so I'm curious what you come up with. Something of interest to the luthiers here is that tone awards were won by basses built with a number of alternative woods. I recall there being American Sycamore, Walnut, Dark Cherry, and Mahogany in addition to maple winning tone awards.
  11. I don't have many photos of the other competitor's basses, but there were some really wonderful basses entered this year. In particular, Evan Davenport's was absolutely stunning.
  12. As a double bass luthier, I've installed carbon fiber reinforcments on bass necks a number of times. It has the predictable improvements to playability where you see reduced scoop under string tension. It always seems to add more pizzicato sustain, stronger articulation, and more midrange to the sound. Basses tend to have a more "energetic" sound after installation, but may also Seem a bit brighter. Particularly on bass, the neck is far too thin for the tension it's holding so anything you can do to make it stronger is a good thing.
  13. Threads like this would be simpler if people submitted technical drawings instead of prose. Oh well. Not really related, but Sospiri, you might find the way I design bass necks interesting. Neck Geometry Tutorial