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MJ Kwan

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About MJ Kwan

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    http://fixitwithshading.com

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  1. Hi, I have an extra set. I sent a PM.
  2. Here’s part 2 of this project. https://fixitwithshading.com/2018/01/13/fingerboard-geometry-part-2-scoop-vs-radius/ Enjoy!
  3. Hello all, Thanks for participating. Please find the results of the survey here: http://fixitwithshading.com/2017/12/26/fingerboard-geometry-part-1-survey-dimensions/ More analysis to come.
  4. Hmm, I'm a little late to the thread. Did you end up making one? Some students are turned off by the school jointer because the sole changes almost daily. They are easier to adjust, but be sure to seal the body very well, or you will be adjusting almost every jointing session. In that video you can see the jointer body itself is actually popping at all the seams because it was never well sealed. So shellac it a bunch once you've made it, especially at the mouth where there's a lot of endgrain exposure, and it will be much more stable.
  5. By the way, Joe Grubaugh came to our school campaigning for everyone to start calling that part of the scroll the Nape.
  6. Thanks yall. And what about your lower limit of humidity and temp? (I'm in Chicago) Can anyone give rough equivalents of time in lightbox vs time in the sun (or out on a cloudy day, etc)? Better yet, anyone have comparison images? Does the color result come out the same after lightbox and after sunning?
  7. In what range of temperature / humidity / sun conditions are you comfortable with putting your white instrument outside to darken? For how long do you keep it out there at a time? Do you turn it often? Any other suntanning cautions and tips?
  8. I'm about to carve the fluting on my first cello scroll. It's patterned after the Strad Gore-Booth. Just want to see any clean, crisp examples of the detail on the back of the cello scroll (the little thingy opposite the nut). Typical or otherwise, I want to see them all. (Also, what do you call that part?) Thanks!
  9. Thanks for the link, Jacob, I didn't know it was called that.
  10. Anyone have specific feelings or reasonings for graduating right up to the edges of the endblock vs leaving a big ol ledge straight across? Diagram here: http://wp.me/a4i09z-Cb
  11. I'm entering my 3rd year at the Chicago school, and would be happy to answer some questions. If you're in Pittsburgh, you might also try contacting Josh Beyer, who graduated from CSVM somewhat recently. http://beyerlutherie.com/ There is indeed one trimester (out of the 9 trimesters to graduate) dedicated solely to repair and setup, taught by Henni Hahn. They just started doing this 2 years ago. One interesting difference between VMSA and CSVM that I didn't know about until recently: The hours at CSVM are pretty strictly limited - you don't work on your school instruments (includ
  12. Thanks yall. Too much water could be it. I've been dunking and wiping off the water with my hand immediately after. Maybe I should not dunk... It's hard to see in the photos, but the mould is actually pretty thick - barely got room for linings. The wrinkles seem pretty independent of the form. I agree about appreciating some mild gradual waviness over the width of the rib, but I can't embrace these isolated stripes of tight little v-shaped wrinkles... they make me think of soft-story collapses in buildings, ugh! I think this is more than I'd want to scrape: Also some
  13. I haaaate ripples along the grain in cello ribs. The ribs I bent are supposedly all from the same chunk of tree, so I don't understand why some of them got the strong wrinkle and some not at all. Makes me want to blame the wood rather than my technique. So I guess my question has two parts: 1. Looking at unbent ribs, are there any signs that can tell if one's going to be a ripple-prone rib? Is it variation in grain? Did I thickness unevenly? Does it have something to do with seasoning? 2. Does anyone have some technique tips to share on minimizing the ripple? Phot
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