Journal

Michel Angelo Bergonzi

2012-05-09T02:07:38Z

Michela Angelo Bergonzi, son of Carlo made instruments that varied in size, sometime too large, sometime small, but his work was distinct and refined. I had this in my shop for adjustment and will post more photos later.

Guidantus, an obscure maker. (Charles Beare London)

2012-05-07T13:47:31Z

I had this beautiful example of a Guidantus violin, sold by Beare London, I thought I would share some snapshots. Violins labelled by this maker vary greatly in shape an color, this is one of the nicest I have seen. The auction house Tarisio has made available what I feel is the best photo collection of modern and antique instruments, I encourage any musician interested in learning about different violin making styles to subscribe to their online library. A second online source is The Luthiers Library, however the dated website layout, and usability practices that would give Jacob Nielsen a heart attack, make it less then pleasant to navigate.

Train yourself to listen objectively

2012-05-04T10:57:55Z

It turns out that listening to one piece over and over does not work best, familiarity kills objectivity. What else is new? Amazing record producer Stephen Webber has more insights from his long career. He is an Emmy-winning composer and professor of Music Production and Engineering at Berklee College of Music. In three decades as a record producer, engineer, session player, music director, recording artist, DJ, and studio designer, Stephen has recorded with Ivan Neville, Meshell Ndegeocello, the Manhattan Guitar Duo, and the Turtle Island String Quartet, and performed with Bela Fleck, Mark O'Conner, Grandmixer DXT, and Emmylou Harris.

Testore cello scroll + sound

2012-05-04T00:52:11Z

A few days ago I had this cello in the shop. The scroll is a beautiful and simple example of Testore's work. Carlo Antonio Testore was a maker that worked often with woods of second choice, and in a svelte manner, yet his instruments are sought after for their rich tone. I am working now on a small cello, Brothers Amati pattern, with a poplar back and walnut scroll. Testore made several cellos using poplar for the back and I found interesting to look at how the arching had changed over the years on this instrument, poplar is softer then maple and thickness graduation has to be adjusted for this difference in density and elasticity (strength).

Anne Gastinel plays on a Carlo Antonio Testore.

Napkin Academy

2012-05-02T16:30:44Z

Visual thinking is hard! Yet it is the best way to get an idea across. A drawing makes it easier to see how the bridge and sound post work. This new online course teaches some principals that anyone should know. Napkin Academy. One can learn to think faster, see the invisible, with international bestselling author Dan Roam. His book "The Back Of The Napkin" prompted leaders from Google and the White House to pick up their pens and start drawing.

Del Gesu purfling

2012-05-02T01:17:28Z

The "fingerprint", the stylistic id of a maker is often to be found around the edges of an instrument. The outline, the channel on the purfling, the purfling itself.

In making a replica of the Goldberg (ex Baron Vitta) violin I notice, that the black has the same thickness of the white, both being uneven. The black is also lighter in color in some areas, in the C bout the outside section of the black is also thinner, this is typical as it was easier to thin down the inner part of it using a scraper.

Preserving original pegs

2012-05-01T01:37:26Z

The phone rang late in the evening, one of the carved pegs on the Goldberg Ex Baron Vitta del Gesu was breaking at the collar. A common fate for carved pegs that are too thin where the head joins the shaft. The original pegs were beautifully carved and I decided to have a new set made. I was looking to have the exact same design and specification - that said - with the exception of the narrow and weak collar. If the turning tool was not to go all the way under the head profile, the peg would be a lot stronger. But who could do it?

I worked with a French company to have replicas made, unfortunately despite their good intent, they were not able to make high quality pegs. Their set did not look right, and cracked at the collar after a while.

This is when I met Aleksej Slobodyrev, a creative Russian violinist working in Hannover and making some of the most beautiful (and functional) accessories I have seen. You can see a catalogue of his work at ergovio. I found his titanium tuners equipped cello tailpieces to clearly improve the response of the higher register on several cellos. Aleksej is clearly somebody who appreciates details and is thrilled by new challenges.

He will make a new set of these pegs based on the cast I made of the original. Note how the pin is carved and appears to be turned with the peg, the bean shape of the head is also quite thick at the bottom, which makes it comfortable to grip. These are truly superb pegs.

Handplane as Art 3

2012-03-01T02:11:53Z

Konrad from Sauer & Sneider Toolworks, is a fine woodworker. He also makes infill planes and they are of superb quality. His K13 is particularly interesting because of its original design.

Claudia Fritz answers the skeptics.

2012-02-29T14:51:20Z

Claudia Fritz has published on her web site a list of answers to the Stradivarius vs. Modern violin study.

Craquelure, and surface finish.

2012-02-25T01:55:17Z

Charles Beare has made known, probably more then anybody else, the dangers in the practice of "French Polish" on vintage instruments. The application of French Polish levels, or erase, the original surface texture the varnish has acquired over many years.

Above, is a detail of a Montagnana copy I completed last year. Less is more when it comes to polish, and a varnish surface that is left "natural" help complete the look of this sparsely antiqued instrument.

This schematic diagram shows a cross section of a varnished wood fragment taken from the back of cello by Pieter Rombouts, an approximate contemporary of Stradivarius working in Amsterdam. The varnished surface appears at the top of the diagram, running away into the distance as if we were looking down at a cliff top. The top layer of varnish is quite thin, with a smooth surface, and shows at least two distinct coats. Below this comes a much thicker undercoat layer filled with particulate matter, labelled Particulate layer. Below the undercoat is the wood, which shows some indication of having been treated with a preparation containing oil. This diagram is reproduced with the generous permission of Claire Barlow and Jim Woodhouse and was first published in ‘Firm Ground’ (The Strad, March 1989 p 197)

Fine craquelure on an original Montagnana head.