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About Pietro.Moltani

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  1. Goffriller 1710. It seems that the original holes have been placed as on the Andrea Amati scroll, but a century and a half later. Mumble mumble, rattle rattle.
  2. Hi all. I'm actually trying to get some rosinate to mix it with a quite pale Sandarac varnish to avoid a too high concentration of lakes. I followed Michelman recipe, buuuut it came out pink instead of light red as suggested by Michelman himself. I'm wondering what went wrong. It seems that the tincture of madder attached fully to the alum rosinate. Perhaps it would work better changing the tincture of madder/water ratio during the process, but it could be also due to a weakness of the tincture of madder itself. What would you guys think? Did you ever go through the same situation? Thanks, Pietro.
  3. Long pattern strad used to be little longer than violins built on P/PG/G mould. But as the cc bout width is the same, upper and lower bout are more narrow on Forma B. According to the measurements taken by Pollens, upper bout is 154mm instead of 161mm and lower bout is 194.5mm instead of 200/201mm. Using the G mould in its original size, you're gonna get a violin 357 mm long or even more.
  4. Sure, it was only my personal opinion If I don't get wrong this prevents also a too thin area in the "fluting" despite its depth.
  5. I already got the three Trade Secrets! Thanks anyway Nice article, but corner blocks will be my starting point. I can’t explain the large and flat surface on the plates where to glue the ribs except with the presence of features with a similar surface (in this case tiny corner blocks). The ribs miter also suggests that corner blocks were shaped previously than bending the ribs and they weren’t just added later, after joining cc and bouts ribs.
  6. You’re right. Got the chance to have a little chat with M. Carlo Chiesa about that and he confirmed that gluing together 2 thin layer (same thickness of modern linings, around 1.6/2.0mm) of different wood (usually willow or popolar and spruce) crossing their grains was a Common practice also in Milan. And yes, the top block wasn’t flat but it used to fit both the back and top hollow. That could be a nice idea to strengthen the neck fitting, especially because the neck root was glued on a very little surface (3-5mm).
  7. That would be great. By the way I think that the connection between viola da gamba with bent plates and brescian violas arching seems pretty obvious, that’s why starting from the same graduation patterns sounds reasonable to me.
  8. Good to know I will surely send him and email. Thanks
  9. Hey there, I'm about to start a new project: a historical reconstruction of a brescian viola based on the da Salo' Tenor Viola exhibited in the Ashmolean Museum. John Dilworth wrote an excellent article about the brescian working method published in a book about brescian violin making, but something is missing (not his guilt)... there are no informations about original thickness. Probably because no plates survived in their original conditions, but I'm hopeful! So here's my question: is there anyone of you who knows something about thickness? There are also lots of doubts about the unlikely presence of a bassbar and its placement (archings were very strong and maybe designed to be self supporting). Any thoughts about that? I'm not interested in making a viola which could be considered a good sounding instrument according to nowadays standard, I just want to make a viola close as far as possible to those ones built in the XVI century in Brescia. It sounds more interisting to me Thanks in advance Pietro
  10. Very interisting post! Can anyone tell us more about the da Salo' fingerboard? Any measurements? I'm pretty sure that in the Ashmolean Catalogue there's an article about that instrument, but unluckily I ain't got the catalogue Do you even know if there's any other brescian fingerboad which is regarded to be original? Thanks
  11. According to what Weisshaar Wrote in bis book, Washi is a great material because of its flexibility and lightness which add little mass to the instrument. The only inconvenience consists in the glue it requires. "...We do not reccomend using animal hide glue with Washi because of the glue's protein content: protein attracts insects..." He recommends a glue Made from wheat starch which has been deglutenized. I found some recipes on the web. Think I'm gonna try it to verify the grip and the endurance.
  12. Hi Edi! Why orientating weave that way? I assume it is because of the same reason you glue cleats with the grain that runs perpendicular to the belly grain... am I right?
  13. Well, I'm not worried about that outward curve which could also be pleasant to see. My concerns are about the different ways these two materials (Wood and linen) move. If linen shrinks while ribs are moving because of a climate chance for example, shrinkage can be in contrast with the natural bending of the Wood and this can probably cause a crack instead of prevent it. But as David Burgess said, linen has centuries of validation and there must be a reason... Maybe there's no reason to worry and I just need to to through this process for the first time
  14. Hey mike! Nice to hear that you can apply multiple layers according to the stiffness you need. One question for you: what's the thickness of your ribs? Oh, and what about the glue? Is it the same you use to glue stuff together or do you change ratio adding more water? Thanks.
  15. Hi Conor, thanks for sharing with me your experience. I know that you can prevent any sort of shrinkage washing textile, but I'm extremely curious to try washi. I promise you that I'm gonna try silk soon.