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Thomas Coleman

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    https://www.instagram.com/thomascoleman.violins

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  • Gender
    Male
  • Location
    Grayslake, IL
  • Interests
    Guitarmaking, LuteMaking, ViolinMaking,TaiChi, Hiking, Cycling

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  1. Korinthia Klein, Robyn Sullivan, Andrea Frandsen, Aubrey Alexander, Ada Quaranta, Hannah Fenn, Shelby Martignacco...Many many talented women in the field.
  2. Ute Zahn, Marilyn Wallin, Ruth Obermayer, Marianne Jost, Bianca Cordero, a fraction of the well respected female luthiers I can think of. Sarah Peck, MJ Kwan, Sara Deliberato, Kristin Siegfried, Henne Hahn, so many more... Sigrun Seifert...
  3. Bruce, do you think the carved kopf of viola da gamba's were also a specialized type of work? I recently tried my hand at making baroque guitar rosettes and quickly understood why even today it is mastered by specialists. I believe I remember reading or seeing that Kevin Kelly found remnants of a geometric construction for a baroque guitar rosette on a paper cello pattern housed in the Cremona museum. Do you think the Stradivari workshop made the rosettes for the guitars?
  4. Thanks Jim. I really like the look of the pear wood. It's color almost looks like cherry sometimes. I got the thin (first practice rosette, .5mm) veneer from an ebay seller named acutemaquetry. I've bought from them before and have been pleased. The thicker veneer I cut from a bigger piece of pear that I got, I believe, from Cook hardwoods. I'd be happy to send you some of the thinner veneer when I get back from vacation if you'd like. Lemme know.
  5. I've been knee deep in trying to learn the finer points of baroque rosette making. I can totally see why Masters like Elena Dal Cortivo and Mateo Cremades specialize in them and if I decide to make another baroque guitar I will give serious consideration to purchasing one from either of them! After much practice and frustration I have a rosette that I am happy with. Far from great but usable. The top layer is 1mm Swiss pear, cut out with a jewelers saw and then glued to the second, still whole, .7mm Swiss pear layer. The second layer was also cut out with a jewelers saw and the both of these layers were glued to the third, still whole, .4mm layer of cotton paper. The third layer was cut with an xacto knife and posed the most challenges. I was having a hard time sourcing parchment that I thought suitable and my guess is that while parchment poses it's own unique challenges (hard to glue being one) it would've been easier to work. Anyway, the challenges were fun, if not a wee frustrating...and now, after a 2 week vakay to see family in Montana, I can continue with the guitar
  6. That book looks great. I believe that Warren Shingleton is making a baryton. He does exceptional work. Thanks for the line on that book, I'll keep an eye out. I was recently surprised to find a french language viola da gamba building book available for Kindle! I bought it even though I don't speak any french, a wee bit of spanish and italian, but no french. I just appreciated the idea of supporting the author and I may be able to glean a tidbit of info. Building a gamba is high on my list.
  7. Not very likely that you'd find a cast iron Delta scroll saw in Europe.
  8. Ach! I would love to. I doubt it would ever get passed the "dreaming" stage
  9. Thanks Shelbow! I love early music and it's instruments and think your bows are too cool!
  10. Awesome find! Is your turntable up and running?
  11. Baroque guitar bridge. I debated just drilling string holes in it as opposed to cutting the triangular string channels but then I read about a speculation that the triangles contributed to the tone of the baroque guitar. This makes sense seeing that the bridge on a guitar acts as a kind of brace. The triangles would definitely allow more movement of the top. As everywhere on this Stradivari inspired guitar it is built very lightly.
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