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Henry Lenck

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  1. Soundboard finally finished and ready for a decorative rose https://www.youtube.com/watch?v=coqL6RJCOHI
  2. And so the bent soundboard is born https://www.youtube.com/watch?v=gxiFvOyWUnU
  3. Ribs finished https://www.youtube.com/watch?v=YYyzVfsVydg Now on to the bent top.
  4. I'll be doing a bent top plate. This time I'm going for 7 staves. There will be a detailed video about this process posted on my channel so stay tuned. In the meantime you can search the web for two most valuable pieces of information (at least in my opinion) on the topic of viol bent tops: 1. Viol Construction in 17th-Century England: An Alternative Way of Making Fronts by Dietrich M. Kessler in Early Music, Vol. 10, No. 3 (Jul., 1982), pp. 340-345 2. Making a Viol Soundboard by Shem Mackey in The Strad (Trade Secrets) March 2008 Also check out facebook/instagram of Gesina Liedmeier and Marc Soubeyran. There you'll find lots of useful photos.
  5. That's true. Viol making seems to be shrouded with mystery. You have to do some serious digging to find information on the topic. I hope my work will change that so be patient, there will be more.
  6. Greetings from viola da gamba making bench! I’ve been doing this for some time now and decided to share my ways with you. For me it’s strictly viols in all sizes. I’ve never build a violin in the past and I don’t plan to in the future. I don’t do it full time. It’s more like a chill out activity in my spare time to take my mind off things. Currently working on a tenor viol. Here are some videos from my workshop https://www.youtube.com/watch?v=PSMeBtIXr8Y Enjoy!
  7. Let's not forget that viols (with bent as well as carved tops) were strongly associated with the Ancien Regime, so they had a bad reputation after the French Revolution.
  8. That's interesting. I've had similar issues with bending viol ribs. Too much water introduces a lot of unwanted deformations which need to be taken care of (that requires extra work and time). On the other hand bending totally without water i also time consuming and comes with a risk of breaking the rib. The third option that I've discovered recently was to soak only one side of the rib (the one that doesn't touch the bending iron). It can speed up the bending process a bit and you have a lower risk of warping.
  9. It depends on how historically correct you want to be. Starting from the top you have an open scroll or a carved head. Pegbox sides plain or with relief carvings. Fingerboard with soft wood core and hard wood sides covered with veneer or marquetry. A neck-throug-body or mortise and tenon construction. Body build usually without a mould and corner blocks. Flat back with a 'break' in the top section or a Tielke style bent back. Carved two-piece front or bent sound board from 5 or 7 pieces. Purfling ornaments on the body. A tailpiece with a hook. I think there is a lot more going on than with a cello.
  10. Indeed it's long. On the other hand it fits well as a large consort bass viol.
  11. I've read somewhere that in Paris it was a similar case. Take for example Collichon's or Bertrand's heads. Not mention very similar heads on Guersan's pardessus'es.
  12. Museums which house historical instruments collections often sell plans and technical drawings for some of them. Take for example: Germanisches National Museum in Nuremberg Musée des Instruments de Musique in Bruxels Cite de la Musique in Paris Royal College of Music in London Ashmolean Museum of Art and Archaeology in Oxford Musikinstrumenten-Museum in Berlin
  13. There is also a series of articles in The Strad's Trade Secrets concerning the process of building a viola da gamba. Decorating a viol sound hole - The Strad, December 2015 Baroque fingerboard - The Strad, December 2005 Inserting a decorative rose into a viol soundboard - The Strad, October 2011 Making a viol soundboard - The Strad, March 2008 Viol making without a mould - The Strad, March 2007 Carving the neck on a viola da gamba - The Strad, February 2021 Making a viola da gamba scroll - The Strad, May 2014
  14. Judging by the black binding around the body, tight and evenly spaced grain on the front plate, glossy varnish, an abnormally long pegbox and somewhat "elongated" shape of the body I would say that this is an instrument made by Peter Harlan in Germany sometime in the first half of the 20th century. I've seen some other viols by this maker and they all share those characteristics.
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