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Everything posted by Emilg

  1. Ok so probably apart from the differences in density there's not much difference in tonal aspects between spuces
  2. From the 7 classical guitars i built, #2 had that x factor.. even when i played it So there may be more than one x factor coming from player, bow, species, age, etc. Roughly, there were 2 camps of classical guitar making when i was building and reading about it on forums. One camp was going for that old world sound (Torres, Hauser..) and one camp was going for the new and improved big sound, strong projection with lattice bracing and double tops. I really prefer the old world sound, maybe they were not as loud as the lattice braced ones, but had more warmth, depth and sweetness.
  3. And what about spruce species.. i remember Michael D. wrote years ago that in his experience Sitka and Engelman were lacking in certain tonal qualities that European spruce from the Austrian Alps did have. Is there any truth to that? Marty, Don, or Michael?
  4. Ok thanks, so high RR and low damping comes close to great wood. These factors can me measured. But now a question that has been bugging me ever since a started making guitars 10 years ago, and now even more with violins.. can wood have a certain quality, let's call it x-factor that cannot be measured, but can be heard or even felt in the sound of the instrument? I guess i'm asking for gut feelings now ..
  5. Then remains the question .. Nathan, what would you consider to be great wood?
  6. I wonder if that will eventually be the same for pernambuco bows ..
  7. That is why everybody calls him Sam Z. ..just like everyone types congrats, because they cannot spell congrajulashions...
  8. Yes because of CITES regulation as pernambuco is an endangered species. It can be shipped within US it seems, i can buy it from Germany without a problem, but it's somehow not allowed to ship from US to Holland.
  9. Hi Duane, i would love to buy some, but as you mentioned before it's not possible to ship to Europe.. real shame
  10. Thanks, at least it's starting to look like a violin after messing too much with stains on the first 4 I try not to create too much smoke, so i think i'm cooking at about 200C. Maybe that results in the reddish color? Still after 3 hours already it looks pretty intense in color.
  11. I sortof follow the Hargrave way with PoP ground and a damar/colophony varnish. I make small batches of maybe 40 ml varnish so i can safely cook in my bathroom with enough ventillation. The resins i cook for about 2-3 hours. The colophony i use however turns quite reddish, the damar is more brown. Together they make a nice color. Next violin i'll try to get a darker varnish like Roger makes it, so longer cooking time.. though 200 hours may be a bit too much. This one (#5) had 2 coats :
  12. Hi Andreas, i suppose those varnish makers did not just make varnish for violins, so what other items was that same oil varnish used for? Furniture maybe? And what about the typical red varnish Strad started to use end of 17th century (about?), are there more makers known to use that type of varnish, or was it taylor made for him perhaps you think?
  13. I would not use sawdust, but i used some 4-5 cm plane shavings to patch a few thin spots. Just glue in and sand smooth. It looks horrible but seems to work fine
  14. It could be a plausible story, as plates will react quite different after 50-100 years of aging. Adjusting thickness could bring out the potential once again, and this time probably more permanent. I guess we dont know how thick Strad made his plates, but DG made many of his quite thick. I read that only a few of DG's were not regraduated, so this means over 150 were? Was this done with changing to the modern setup?
  15. Well, i know nothing .. but according to Pollens MOST Strads and DG's were regraduated (hollowed out) at the end of the 18th century, because "they were too thick in wood" (can you imagine?) This is seldom discussed here, but if it is true it could answer your question. According to Pollens Strads and DG's were "thinned to perfection", and may have co-created the sound quality we know today. I also read in the first 100 years the Amatis were still preferred to Strads, that would be also till the end of the 18th century...
  16. I had a fretboard blank for a guitar once, full of wormholes ... so yes, they like ebony ... When i mailed the seller he said i had to accept some, but when he saw it i immediately got a new one.
  17. I thought it was some fancy new bow frog design
  18. Could that be improved by making a lake pigment from it? edit: found this easy 18th century recipe for Lacque of Turmeric, used for painting http://www.gutenberg-e.org/cgi-bin/dkv/gutenberg/slideshow_low.cgi?pn=38
  19. Looks like Curcum (turmeric)
  20. Thanks Nik.Yes even the books are hard to find. But there's nothing wrong with building a bit of experience A bought a bundle of some 30 worn bows, so that might be a good starting point..
  21. Thanks Jerry, that is very helpful. I also read bows develop in time, and that was my impression of the 5100 pernambuco bow after a few months/a year. But first it comes down to develop the right feel and build some experience. I think you are absolutely right the 5500 one may be too stiff. I left the first 20 cm from the head a bit thick. As it was quite difficult to bend, the camber is still a bit flat. There should be some room for improvement
  22. Hi Jerry, i cant remember who wrote it (will try to find it), but actually he said it's mainly the wood, the taper and the camber. What i meant was once you have chosen the blank and cut it to length, that leaves the taper and camber for tuning the response/sound (according to him, i think he actually wrote that the graduation is also sortof fixed, leaving only the camber to adjust). What variables do you consider to be important for tuning? (i dont know if that the right word)
  23. I have made bows from 2 pernambuco blanks (5100 and 5500 Lucchi, from Espen) and 1 snakewood. I bought the book by John Stagg which offers alot of practical information. It does however not give many clues how to tune the bow and i cannot find much info on the net. The book only gives a standard taper and camber. The 3 bows are very different sounding: the snakewood turned out the best with full body and strong highs. Both pernambuco's do not sound very well, the 5500 even sounds the worst, like the sound comes from a tin cookie jar. It wont grab the E string very well, no matter how much i rosin. The hair is from Sowden (Blue ribbon), rosin is Libenzeller Kollophonium Gold. I understand that camber and taper are the 2 main variables when it comes to sound, especially near the head. Maybe the weight of the head plays a part as well. Are there general rules for what happens when you thin the bow near the head and/or increase the camber?
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