Dana,
I've had a devil of a time using go-bars with lute bracing. Lute braces are
narrow and it's difficult to position the go bar so it doesn't flip a brace
over. If the pressure is even a little bit off-axis, there goes your brace. I
would imagine it's different with the wider bracing
Chad,
Well, it's a small anvil. About a foot long. A blacksmith's anvil would
definitely be overkill. I haven't actually glued on all of the braces at one
go yet, but I think I may try it on the next instrument I build. It does sound
like a bit of a circus act, though.
Re-gluing bridges
R,
My go-bar box is a four foot cube (plywood top and bottom with threaded rods in
the corners holding them apart). I've cut the foam core so that three sides
are solid but the front opens from the middle, which makes it less cumbersome
to get into. The foam core pieces are held together by
I'm an amateur also, but isn't the pitch determined by the density and breaking
strength of the string as well as its length? And, of course the response of
the instrument is determined by a number of factors, including volume of the
bowl, size of the rose, and the makeup and bracing of the
Ben,
Speaking as someone who has done a great deal of archaeological illustration, I
think you need to understand that technical drawings are made for specific
purposes. Every drawing represents the artist's idea of what is important to
include and what can safely be left out. And has an
Does anyone have a good method of planing or smoothing the edges of
thin ebony strips to go between ribs? I've bent wider pieces of ebony
to the right shape and sliced off thin strips with a band saw. As I
cut each piece I could hand plane the cut edge on what was left, but as
a
From my one very brief but unforgettable experience with it, it smells worse
than bone when cut with power tools. Don't do that in a confined space. I
once needed some antler for an educational display and went to a taxidermist.
When he cut a piece for me on the power saw in his garage,
Hi Alexandros,
You need a wood that is wear-resistant and also fairly fine-grained and dense
(to efficiently transmit vibrations from the strings to the soundboard). I
would think that beech would actually work well. You could stain it black if
the pale color is a problem (just don't stain
Christopher,
Spacing depends partly on the size of your hands. The spacing on actual
Renaissance lutes is fairly tight. I have large hands and have a hard time
playing a lute with spacings that are historically accurate. The ones I've
built have a wider spacing based on what Daniel Larson
Hi Dana,
You can find nice planes in
antique stores for about $25 or $30
--- [EMAIL PROTECTED] wrote:
on long island the price is much higher in any antique store, and most of
em would require serious work to be capable of making dust (rather than
gathering it). Seems the interior decorators
Hi all,
I might add to Dan's explanation that a single jig can be used for lute bowls
with differing numbers of ribs. My one jig is set up to produce bowls with 9
ribs or with 13 ribs. The pivot point stays the same; you just have two sets
of indexing points. So far I've only used it to
Hi all,
On the last lute I built, I used Daniel Larson's method, which he demonstrated
in a workshop at a Lute Society conference several years ago. He doesn't us a
a form at all. He has a jig that you bend a rib around. After the rib is
bent, it stays on the jig, which can pivot up and down
Hi Dan,
I am definitely interested in attending the workshop. I'll look forward to it.
I've tried to take the philosophy into other tasks in lute construction, too.
I use a masonite template and a Luthier's Friend to template-sand a lute bridge
most of the way from a blank to a finished
Michael,
I guess I don't see the point of continuing the endclasp that far. I've only
built a handful of lutes, but I've handled and repaired several others, and I
haven't really seen much of a problem with the belly separating from the bowl
along the sides. If hide glue is used it is easily
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