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J.DiLisio

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Everything posted by J.DiLisio

  1. I find it helpful to think about bracing when I start any job with a sharp tool. Usually it takes a little experimentation to find the right hand or body position that will allow for maximum control and minimum slippage. For bigger jobs it might be bracing my hip or elbow on the workbench. For detailed work it might be bracing my hands against each other or the piece. It's never really just free hand.
  2. Maybe try it without the lime to rule out the other ingredients?
  3. I like how the tight grain gives the belly a velvety feel. Is the baroque fingerboard fitted extremely close to the arching or is that just a trick of the camera?
  4. I just planed down and bent a bunch of basswood this morning for linings. Based on it's stiffness and light weight it seems like an ideal alternative to the usual.
  5. My second attempt at a Cremonese style saddle and this time I made the angled cuts to keep it from sliding down
  6. I tried this on an instrument and it turned out more shrill sounding than I would have liked. I got the impression it might be helpful if you're working with a soft piece of spruce and wanted to harden/strengthen it.
  7. There's a video floating around of Burgess bending ribs using much more force than you would think necessary. Clamp that iron down and give it a try. I can attest to having much less cracking using this method.
  8. I can pull all my weight against it no problem.
  9. I use this one too. It's cheap but solid and works fine for violin/viola/uke,. not sure if it's tall enough for cello ribs.
  10. The antiquing on this one looks more natural than the previous violin,. also the varnish looks more transparent. Is it the same recipe?
  11. I believe ritardando is the acceptable term. I’ve had good results with gypsum as well. The benefit over plaster of paris is that there is no slaking or preparation involved. I’ve since moved on to using a thin casein sealer. I find that to be easier to apply and it allows you to oxidize the color further after sealing.
  12. I actually fried a few up this past week and they tasted just like peanuts. Not bad at all really.
  13. I had a surprise guest show up while carving out ff’s on the porch today. For those unfamiliar, this is a cicada that appears every 17 years on the east coast of the US. They aerate the lawn, make a lot of noise, and provide a tasty feast for the local wildlife.
  14. How hefty are we talking? It looks like the Tuscan Strad gets up to 3.1mm in the belly. Perhaps untouched? With gut strings that might be the closest we get to an original sounding Strad. I'm not sure but it may have gut on these recordings..
  15. Are there Strads that are known to have original grads? Vuillaume couldn't have gotten to them all.
  16. From the booklet.. "The remaining parts and fittings, however--e.g., the neck (connecting the scroll to the body), the fingerboard, the bridge, the tailpiece, the type of strings, the bass-bar (glued parallel to the G string on the inside of the top), and the soundpost--have been altered several times since the instrument was made. As it is pictured here and played in this recording, the violin has been restored to approximate its 17th-century condition and adjustment... ..as presently restored, the neck is of the same length as that of a modern instrument, while most Amatis were built with slightly shorter ones.." The neck looks to be attached to the ribs and I think I can make out the graft line so it may have been converted from a modern setup or perhaps the neck was replaced without ever having a mortise. Is that uncommon?
  17. Thanks for sharing. I’m really enjoying Mr. Luca’s masterful yet understated approach to Bach. I find it very easy to listen to compared to more flashy players if that makes any sense. The instrument is of course secondary to the skill of the player.
  18. Yes, all completed and spinning smooth. I'm on the hunt now for good early music records. Any recommendations are welcome.
  19. I just picked up this wonderful set of Bach Sonatas and Partitas played on a 1669 Nicolo Amati still in “Baroque disposition with authentic fittings and bow.” According to Nonesuch this was the first recording of these pieces on an original instrument. I was wondering if anyone has more information on this violin. Has it been photographed or featured in any publications? Has anyone had the chance to see it in person? I would be particularly interested in seeing details of the setup.
  20. Here is a mould that's a symmetric average of the Cannone halves if anyone is interested.. Cannone.pdf It's traced from the purfling line. Edit; I should add that this is one of the larger del Gesu's that was possibly built with proud blocks on his standard mould so this outline is specific to the Cannone and not universal.
  21. Perhaps you could share some photos that highlight the arching and the grads you ended up with. What models are you using? I've gotten boomy sounding instruments with thinner grads.
  22. These are half-templates I copied from Roger Hargrave’s article in the DG book back when I had access to a laser cutter. They’re pretty universal, I just keep track of the distance from the edge that matches the arching I’m copying. In the case of the Cannone arching they are consistent.
  23. High flames and homebrew purfling..
  24. It's really just a motorized lazy susan at the moment. One day I hope to add an arm so it can make some noise.
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