Jump to content
Maestronet Forums

JacksonMaberry

Members
  • Posts

    2982
  • Joined

  • Last visited

Everything posted by JacksonMaberry

  1. His knives are truly incredible. But the kogatana I'm talking about isn't for fiddle making.
  2. @Violadamoreplease bust our your kogatana and put an end to this.
  3. Right, thanks for this. A friend of mine who's a smith in BC (check him out on Instagram @islandblacksmith) told me the fukiurushi, wiped on, wiped off, lets you keep some wood texture so I thought that might be a possibility for fiddle furniture. I haven't worked with urushi of any kind (yet, but I'm currently mounting a sunnobi tantō of the Kagemitsu style) though so I defer to your expertise.
  4. I feel this is very true. The chosen arching ultimately will reflect and compliment the wood properties
  5. Agreed. That kind of info is ready on the poster though, so it would be much cheaper (for the person that doesn't mind making their own forms) to just reverse engineer the arch distortion from the line drawings/CT from the posters
  6. I'm with you on this. What would you think of a few coats of fukiurushi? Once cured that stuff is pretty resistant. Guess it's just the application that's dicey
  7. The judicious use of all the senses and faculties of the mind is the best course, I think. Well, maybe not taste or smell as much, at least in arching and graduation haha!
  8. These home-made incannels are very similar to what Hargrave calls an "idiot chisel" or what the Japanese call a "Maru Nomi", and they are super useful. I have made myself several and use them for trimming the cheeks of the pegbox, cornerblocks, channel/purfling ledge, etc
  9. We are talking past each other.
  10. Sure, it's all geometry at the end of the day. As to whether it is the appropriate geometry for the style and the billet in question, that's where the flexibility of a well trained eye and ear come into play.
  11. It's easy to fall into a trap with this trade. It seems so dizzying in it's complexity as to he impenetrable. But try not to overthink it. The makers we worship were semi literate woodcarvers with a medieval understanding of mathematics. And clearly, that was enough! Study the geometry of the ancients, do some drawing, carve some wood, keep your eyes and ears open. Have some fun, while you're at it.
  12. I wonder what it was in the Japan drier that caused the color shift to such a dramatic red?
  13. Really compelling, in fact! I dig the artifacts of the "devil may care" attitude. Nice, Evan!
  14. What's the deal with the screenshots of who's actively browsing the topic? Glitch? Pathological?
  15. If I had a time machine and still had some juice in the flux capacitor after killing Hitler and King Leopold II of Belgium, I'd hunt down all the cello/viola reducers.
  16. So many!! It's kind of exciting, really
  17. I agree with the spirit of this idea. Mostly I think that "workmanship" categories are not of value to musicians. Instruments are functional first, despite what motivations the auction houses and dealers that cater to the investment sector of the instrument trade may have. Judge performance above all else. This is what matters.
  18. Or, you could apply Roubo primer and tan a bit for a much quicker, somewhat more complex color, then seal with an oleoresinous ground layer, and then build color.
  19. Arching templates aren't the only way to develop an arch. David Beard posits one possibility in this blog that's pretty easy to use and modify.
×
×
  • Create New...