I think, personally, I prefer the look of the fingerboard extending on
top of the neck block, as it's a little different visually and makes
for a change. (Go toA [1]http://www.lutesandguitars.co.uk/index.htm and
scroll down to or search the page forA 6-course Renaissance lute after
L
SAorry - following Wayne's advice I ought to have sent this in plain text...
Here it is M.
- Forwarded Message -
>From: Martyn Hodgson
>To: Ralf Bachmann ; Christopher Wilke
>; Lute Dmth
>Sent: Thursday, 27 February 2014, 8:15
>Subject: Re: [LUTE] Re: Notational query in NB Wien MS
Dear Benjamin, and all,
My lute building career ceased before I finished my first real one
(still have the form and the body staves I'd made), so what I say may be
irrelevant. My interest moved to the Celtic harp, but I did make - and
still play - the "flat back" lute from Musikits (13 string,
Apparently I didn't send the USDA monograph on Alkaline Casein glue. You can
access it at http://www.fpl.fs.fed.us/documnts/fplrn/fplrn158.pdf
Casein is widely used in the manufacture of coated paper as the glue that holds
the pigment in the coating. Alkaline is preferred in the paper industry a
Thanks for all the interesting replies!
I came across another interesting use of glue the other day - I bought
a very cheap uke (which actually worked pretty well) and decided to
take it apart. It was held together with hot-melt glue of the type
used in glue guns. It came apart re
Note that the formula William Samson gives is for acid casein while the
formula given by the USDA monograph is for alkaline casein. Alkaline casein is
preferred in some uses such as paper coating where acid can contribute to
discoloration and deterioration.
Edward Margerum
At 09:33 +
Dear Bill,
Margaret beat me to it with the detailed quotes from Cennini and
Thompson but while I was looking at the Cennini I noticed that his
recipe for fish glue says that it was used for lute mending, It sounds
from the word "leaf" as if it is isinglass:
HOW FISH
Dear Bill,
Casein glue was certainly used extensively in the middle ages by
painters to join the boards of their painting panels before preparing
with gesso etc. In fact quite a common recorded item in the invoices
they submitted to their commissioning patrons was for the cheese
needed to make
Artists use(d) casein glue to glue up panels for painting. The
advantage is that it is waterproof so isn't softened by the gessoing
process.
Casein Glue for Joining
If it is necessary to glue up a panel, the best thing to use is the
cheese and lime glue which Cennino descri
Dear Bill,
Many years ago, before I knew better, I made my first instrument with
a propriety wood glue 'Cascamite' which I thought at the time was a
cassein type adhesive (the similarity in the name). And it was
certainly strong, gap filling (benefit for a novice!) and took plenty
-BUILDER] Re: Peg Sharpener Source
Dear Sterling,
I use a similar method to Martyn's, only instead of making my own
blades I have
found that the replacement blades by StewMac work well. I've made maybe
a
half-dozen wooden taper jigs in this way for different tapers/sizes of
Sterling,
The Stew-Mac device can be made to work if you're persistent. Making your own
is probably best, assuming you have a reamer. Are you trying to fit a whole new
set of pegs, or just touching up some that have gone slightly oval? A little
chalk and a deft touch with a file might see you
Dear Sterling,
I use a similar method to Martyn's, only instead of making my own blades I have
found that the replacement blades by StewMac work well. I've made maybe a
half-dozen wooden taper jigs in this way for different tapers/sizes of reamers.
I can send you photos, if you'd like.
AMH
--
Dear Sterling,
I found it best to make my own to fit my own reamers. There are various
ways to do this - mine is:
Drill and ream a tapered hole in a piece of suitable wood (I used some
mahogany); plane down to get a parallel sided slit along the length of
the taper, cut and gr
ntioned earlier, I'd personally
not advocate their use.
MH
--- On Tue, 12/2/13, theoj89...@aol.com wrote:
From: theoj89...@aol.com
Subject: [LUTE-BUILDER] Re: Further to: Bar end supports on lutes
To: lute-buil...@cs.dartmouth.edu
Date: Tuesday, 12 February, 2013, 14:5
Feb 8, 2013 4:18 am
Subject: [LUTE-BUILDER] Re: Further to: Bar end supports on lutes
Dear David,
I well take your point about Hellwig's observations. But, it's not just
my observations of the Stautinger. More significantly here's what Mace
has to say (incidentally, he
iginally instructed by a London repairer (he says if you don't
want to repair it yourself there's no choice but to pack it off to
London).
regardsa
Martyn
--- On Thu, 7/2/13, David Van Edwards wrote:
From: David Van Edwards
Subject: [LUTE-BUILDER] Re: Furth
liam Samson
>Cc: Martyn Hodgson ; Lute builder Dmth
>
>Sent: Thursday, 7 February 2013, 16:39
>Subject: [LUTE-BUILDER] Re: Further to: Bar end supports on lutes
>Yes, as far as I have observed no lutes were made using support blocks,
>however obvious it
Yikes! How do professional lute makers manage to sleep at night, with
their products ready to go 'pop' at any moment?
Bill
From: David Van Edwards
To: William Samson
Cc: Martyn Hodgson ; Lute builder Dmth
Sent: Thursday, 7 February 2013, 16:39
Subject: [LU
Yes, as far as I have observed no lutes were made using support
blocks, however obvious it would be to give strength. In fact one of
the commonest problems with amateur made instruments is the tendency
to make things too strong. It is a maxim to bear in mind that lutes
sound best when right on
Dear Martyn,
What you say makes perfect sense. I will continue to follow the
example set by the old ones.
Kind regards,
Bill
From: Martyn Hodgson
To: Lute builder Dmth
Sent: Thursday, 7 February 2013, 14:46
Subject: [LUTE-BUILDER] Further to: Bar end supports on lut
Hi Bill,
I know of at least one very well known and respectable luthier who does
indeed glue the blocks on and doesn't see the sense in them not being
glued.
My hire lute was recently under repair for two loose bars, while it was
under repair, the luthier, whom the Lute Society
Thank you both of you, Paul and David, for the pictures of the bridge !
Best wishes,
julien
Le 01.02.2013 11:55, David Van Edwards a écrit :
Dear Paul, but of course they came through privately to our two
emails
because we were CC'd!
Best wishes and thank you very much,
David
A
Dear Paul, but of course they came through privately to our two emails
because we were CC'd!
Best wishes and thank you very much,
David
At 10:38 + 1/2/13, Paul Rans wrote:
Dear Julien and David,
Here's a pdf scan of three not very good and now discoloured
photo
Dear Paul,
That's kind, but alas all attachments get
stripped out by the list software to prevent
dangers of various sorts of viruses etc. Best put
up on a website like Flikr or your own or Dropbox
with open access.
Best wishes,
David.
At 10:38 + 1/2/13, Paul Rans wrote:
Dear Julien
Dear Julien and David,
Here's a pdf scan of three not very good and now discoloured photographs I took
at the time I made the drawing of M255 in 1983.
Maybe they can help a little bit.
Best wishes,
Paul
www.paulrans.com
On 31 Jan 2013, at 17:35, David Van Edwards wrote:
> Dear Julien,
>
> The
Dear Julien,
The best I have is now up on the website at
http://www.vanedwards.co.uk/bridge255.jpg
The treble side is clearly a bit damaged but the
bass end shows it to be a sort of arrow head on
the end of standard curly arm. A bit like the end
of the Devil's tail?
Best wishes,
David
You didn't make a fool of yourself; we all can appreciate any new info we
haven't seen and it showed what a great heart you have.
Happy New Year!
Jim Kath
On Jan 2, 2013, at 8:09 PM, James Jackson wrote:
> My huge apologies to Paul and everyone else -
>
> I really embarrassed myself there
7;s what I'm in the
mood for.
Thanks again,
Paul
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of James Jackson
Sent: Wednesday, January 02, 2013 10:09 PM
To: lute-buil...@cs.dartmouth.edu
Subject: [LUTE-BUILDER] Re: Pitch center on
My huge apologies to Paul and everyone else -
I really embarrassed myself there - Paul emailed me personally and my
last reply to Paul was intended to be emailed directly and my stupid
email set up automatically CC'ed it to everyone on the list.
So, to Paul, I really do apologise a
Hi Paul,
No need to be embarrassed. We all started not playing the lute
remember! Never be afraid to ask questions here, you'll find everyone
here more than happy to answer your questions, no matter whatever they
are.
You're correct in your assumption, the renaissance lute
Hi Paul,
I'll be honest, a scale of 65cm would be much more suited for a pitch
of F at AD0 - I think you'll find with a lute that is a little larger,
like this one, will sound so much better at that pitch. The whole
instrument will resonate better if you string it at the pitch it wa
it is not impossible. I have a Stephen Barber archlute and the SL for the first
pegbox is 650mm top string tuned as g' with a'=440. I use an old Nylgut .38 and
that has not broken. I must be lucky! It may be relevant that the top course
runs over the nut and to the first peg outside the pegbox.
I built a 63+ cm. length lute some years back, actually a "bastard" lute
in that it was Music Maker's "flatback". I had the breakage problem with
the chanterelle also - I was pitching to A440 and tuning to G. Musical
nylon would last a few days, nylgut would break almost immediately. I
went to
lute-buil...@cs.dartmouth.edu
Sent: Tuesday, January 1, 2013 2:34 PM
Subject: [LUTE-BUILDER] Re: Pitch center on a 10 cs. lute
Hi Paul
There is a useful explanation of the breaking limits for strings on the
Aquila website:
[1]http://www.aquilacorde.com/index.php?option=com_content&am
y 2013 20:42
To: Paul Daverman; lute-buil...@cs.dartmouth.edu
Subject: [LUTE-BUILDER] Re: Pitch center on a 10 cs. lute
Hi Paul,
I have a 10c lute of 66cm scale. The highest I can take it with a
nylon chanterelle (the strongest material) is f# at A440 - and that's
really pushing it. I no
Hi Paul,
I have a 10c lute of 66cm scale. The highest I can take it with a
nylon chanterelle (the strongest material) is f# at A440 - and that's
really pushing it. I normally keep it at f. Even at f, with a nylgut
chanterelle, it tends to break quite frequently, which is why I us
Hi Folks,
They're spoken for. Thanks for your interest.
Bests wishes for a happy and prosperous new year.
Steve
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
m what was admired at the time'
since the weight of evidence does indicate much. And this is the
history of such research - incremental steps.
regards
Martyn
--- On Wed, 28/11/12, William Samson wrote:
From: William Samson
Subject: [LUTE-BUILDER] Re: Lute
I don't suppose we'll ever know for sure, unless somebody comes across
a well-preserved, accurately dated stash of old lute strings - or
perhaps they have all decayed/rotted?
Still, interesting views are being expressed. I suppose what we should
all be doing is trying to produce as
I'm not good at choosing the wood as the only lute I've built (a flat
back) was from a kit - but I will second, and doubly second, Richard's
comments on the weight of the neck and peg box as to the balance of the
instrument.
The hand position on the lute is different than that on the guitar as
Hello Joshua!
Congratulations on your first lute
A personal opinion regarding the use of Oak.
firstly, and I think most important is the physical balance of the
instrument... The neck and pegbox both need to be light!
the weight of the instrument needs to be felt as being in the bowl as it
the work on this lute. Any ideas?
--Sterling
From: Richard Lees
To: Dana Emery ; "lute-buil...@cs.dartmouth.edu"
Sent: Monday, June 18, 2012 8:12 PM
Subject: [LUTE-BUILDER] Re: Archlute Bridge
As usual,
Dana Emery strikes again !
Excellent post ...
exce
As usual,
Dana Emery strikes again !
Excellent post ...
excellent post...
Sonically too, Ebony is not the most musical of woods and while I have
retopped a beautiful archlute for a player out here which had ebony
staves, one could lightly sense the enharmonic character of ebony in its
Hello Chris and Sterling et allus!
I have been off this thread as I have been out of town for the last
several days...
To answer Chris's question, NO , one does not abrade/plane the bridge
off the soundboard at all.
The problem we face is that wood is an excellent thermal sink, and as
much
d on what I do.
--Sterling
From: Richard Lees
To: sterling price;
"lute-buil...@cs.dartmouth.edu"
Sent: Friday, June 15, 2012 12:03 AM
Subject: [LUTE-BUILDER] Re: Archlute Bridge
Hello Sterling!!
Its been a long time posting for me, I have been pretty bus
Question from a newbie with zero experience. Could one laboriously plane/
abrade the bridge off the soundboard?
Chris
On 16 Jun 2012, at 03:51, Sterling wrote:
> Hi- from what you all are saying about this, it seems that it is probably
> beyond my abilities to attempt this. I would certainly
Hi- from what you all are saying about this, it seems that it is probably
beyond my abilities to attempt this. I would certainly learn a lot from the
process but I really don't want to ruin this lute. I have already done a lot to
it like converting it from twelve to fourteen courses(with octaves
I'll add my two cents, though Richard provided a wealth of ideas. Planing
down the existing bridge is an excellent tactic! I find aliphatic glues
(white or yellow) actually easier to remove than hide glue. They often come
loose without the addition of water. I put a several layers of aluminum fo
I'll start the ball rolling - The critical thing is what kind of glue
was used to attach it to the soundboard. If it's synthetic, there's no
easy way to get it off.
If hide glue was used, alcohol can dissolve it, though you need to be
careful because it can also ruin the finish of
;
Sent: Friday, June 15, 2012 12:03 AM
Subject: [LUTE-BUILDER] Re: Archlute Bridge
Hello Sterling!!
Its been a long time posting for me, I have been pretty busy with
work...
I offer what I have done in the past.
Many of the EXCELLENT builders who post here will no doubt have
Hello Sterling!!
Its been a long time posting for me, I have been pretty busy with work...
I offer what I have done in the past.
Many of the EXCELLENT builders who post here will no doubt have
wonderful input to give you , no doubt..
For my part, having replaced a number of bridges in restorat
Paul,
The originals used what they had, linen or paper. The material has to
absorb the glue and should shrink while drying. That leaves synthetics
out. The silk I use is for larger model airplanes and I get it from
[1]http://www.darehobby.com/, the #4 is heavy enough. This silk is
>
To: lute-builder <lute-buil...@cs.dartmouth.edu>
Sent: Fri, May 18, 2012 3:44 pm
Subject: [LUTE-BUILDER] Re: Scalloped Ribs
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Bill,
A lut
Dear Bill,
It all depends what you mean by scalloped: ranging from a smooth curved
section (like the Chambure 'vihuela') through to most curve at the rib
extremities - as more commonly found on old instruments and also
depicted in some iconography. I presume you're asking about th
That's really interesting, Louis.
Tim
Sent from my iPhone
On May 18, 2012, at 3:43 PM, "Louis Aull" wrote:
>
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>
> Bill,
>
>
>
> A lute rib tapers at each end,
ect: [LUTE-BUILDER] Re: Scalloped Ribs
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Bill,
A lute rib tapers at each end, which means the outer fibers that would have
made it down to the fastening point on
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Bill,
A lute rib tapers at each end, which means the outer fibers that would have
made it down to the fastening point on each end are cut. As a result, there
is no c
Spruce and cedar, sycamore and (something else I've forgotten). The
taxonomy of trees is confused by the local names. The English have
different local names than Americans (that is the sycamore, and my
forgotten English name). The pear I turn for hollow forms is not the
pear of Europe - it is c
ark Day
Cc: James Jackson ;
"lute-buil...@cs.dartmouth.edu"
Sent: Friday, 18 May 2012, 2:36
Subject: [LUTE-BUILDER] Re: Englemann Spruce
Yes, two different trees. Red cedar will be much softer. My music
teacher (no longer with us, unfortunately) had a lute built by Larr
Yes, two different trees. Red cedar will be much softer. My music teacher (no
longer with us, unfortunately) had a lute built by Larry Lundy in the 70s that
had a red cedar top and I loved the sound of it. I have a red cedar soundboard
that I'm planning to put on a lute to try and duplicate that
Red cedar and red Spruce are two different trees. Both are native to
North America. red spruce (picea rubens) is also known by Adirondack
spruce and comes from, you guessed it; the Eastern part of North
America along the Adirondack range. Western red cedar (Thuja plicata)
is native t
Shouldn't red spruce be synonymous with red cedar?
I've heard of cedar topped lutes - from what I understand (And I really
don't understand much yet!), cedar can work well on smaller lutes, A,
B, C and D ren lutes.
Unless I'm getting this wrong and red spruce IS different?
My E
James,
To further confuse the issue, Northern Tonewoods offers Red Spruce soundboards.
http://www.hvgb.net/~tonewood/acousticguitar.htm
I'm in the middle of building an A lute with one of their soundboards. Tap tone
is very clear and bright. I don't know how the lute will sound, but it should
Thanks for your advice,
I've decided to go for Englemann. I'm going for grade 7 (Second down
from highest on their grade) which the timber supplier describes as
"Near perfection - very slow growth, the widest
growth ring approximately 2mm within the template area.
Very limited ac
James,
The high grade Englemann I have used produces a very warm full sound.
It is also by far the best looking wood. It has to be about 20% thicker
than Alpine for the same strength. I have not worked with Alpine
because the few pieces I have purchased (top grade) were of poor
Hi Yaron,
I believe (and hope) you are right!
I will try it. I'm always interested in the final
result and not so much in the woods pedigree!
Thanks,
Alex
- Original Message -
From: [1]Yaron Naor
To: [2]Alexandros Tzimeros
Cc: [3]lute-buil...@cs.da
t;
To:
Sent: Monday, May 14, 2012 8:41 PM
Subject: [LUTE-BUILDER] Re: Confession
I think there may be a correlation between the working properties of a
given timber and the perceived sonic possibilities it has to offer. When I
think of European beech, the interesting shimmer of a freshly
veral times as much.
Bill
From: Ted Woodford
To: lute-buil...@cs.dartmouth.edu
Sent: Monday, 14 May 2012, 18:41
Subject: [LUTE-BUILDER] Re: Confession
I think there may be a correlation between the working properties of a
given timber and the perceived sonic possibilities i
the difference between Brazilian rosewood and mahogany. The playing
experience involves more than the sum of an instrument's parts.
The use of
- Original Message -
From: "James Jackson"
To:
Sent: Monday, May 14, 2012 11:19 AM
Subject: [LUTE-BUILDER] Re: Confession
uot; <[4]sarab...@otenet.gr>;
<[5]lute-buil...@cs.dartmouth.edu>
Sent: Monday, May 14, 2012 2:41 PM
Subject: [LUTE-BUILDER] Re: Confession
I just bought some beech for making pegboxes from a local sawyer
and I
have to say I also love it. I bet it would pe
aor"
Cc: "Alexandros Tzimeros" ;
Sent: Monday, May 14, 2012 2:41 PM
Subject: [LUTE-BUILDER] Re: Confession
I just bought some beech for making pegboxes from a local sawyer and I
have to say I also love it. I bet it would perform like maple but I
think it is nicer to wo
I just bought some beech for making pegboxes from a local sawyer and I
have to say I also love it. I bet it would perform like maple but I
think it is nicer to work with. The only problem is availability. It
isn't on the US lumber market anymore since it was pretty well logged
out a
Congatulations!
Maybe you will discover that the beech wood is better for bowl making
and you will get a better sound...
Take care
Yaron Naor
On Mon, May 14, 2012 at 1:11 PM, Alexandros Tzimeros
<[1]sarab...@otenet.gr> wrote:
A Hi dear all,
A After discussing about
Dear Alex,
During my work I had 8 different pear colors from almost white to peach
color...
There is no ONE pear wood, it diverse very much
Easy to glue and bend, enjoy the work
[1]https://picasaweb.google.com/116712080015313073524
Yaron Naor
On Thu, May 10, 2012 at 3:53 PM,
Thank you all for your answers.
It seems that most makers don't use pear wood just for aesthetic reasons.
I love its colour though and think that I'll go to get a block tomorrow. I'm
really
curious for the result.
Alex
To get on or off this list see list information at
http://www.cs.dartmou
Steve Ramey
To: Alfred Eberle ;
"lute-buil...@cs.dartmouth.edu"
Sent: Tue, May 8, 2012 1:38:55 PM
Subject: Re: [LUTE-BUILDER] Re: What about pear wood?
As you progress, photos, photos, photos, please.
As you progress, photos, photos, photos, please.
TIA
Steve
__
From: Alfred Eberle
To: lute-buil...@cs.dartmouth.edu
Sent: Tuesday, May 8, 2012 11:58 AM
Subject: [LUTE-BUILDER] Re: What about pear wood
Turkish luthiers prefers to use pearwood at the body of long necked
lutes like cura is the smallest and divan baglama is the biggest.
But they dont bend it but carve out the intenal and uses as solid body.
Umut
--
To get on or off this list see list information at
http://www.cs.
o. I believe they have at least one
more slab near the dimensions of the one I bought.
Alfred
in the Bay Area
- Original Message
From: David Brown
To: Timothy Motz
Cc: lute-buil...@cs.dartmouth.edu
Sent: Tue, May 8, 2012 6:21:57 AM
Subject: [LUTE-BUILDER] Re: What about pe
and respectfully,
David
David B. Brown, Luthier
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Timothy Motz
Sent: Tuesday, May 08, 2012 8:27 AM
To: Alexandros Tzimeros
Cc: lute-buil...@cs.dartmouth.edu
Subject: [LUTE-BUILDER] Re: W
Alex,
Pear is both denser and harder than hard maple, so it would make a fine bowl
for a lute. I don't know how easily it bends, but since Mustafa says it's used
for ouds, it must bend decently. The one time I used it was for a flat-backed
instrument, so I didn't have to bend it. It took fore
k you for bringing this to our attention.
Bill
From: Mustafa Umut Sarac
To: Alexandros Tzimeros
Cc: lute-buil...@cs.dartmouth.edu
Sent: Tuesday, 8 May 2012, 7:16
Subject: [LUTE-BUILDER] Re: What about pear wood?
Pearwood is used by Turkish Luthiers for the body of Turki
Pearwood is used by Turkish Luthiers for the body of Turkish lutes for
more than hundreds of years .
Umut
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There are 48 different mahagony. Gibson and Rickenbacker uses Khaya.
Pores might not effect the adhesion reverse add more resistance. Most
important thing is the sound , you cant get short lots of harmonics
from it. It amps the strings bass spectrum.
Its a true wood for non resonati
Dear Bill,
Never used the material for ribs and the like, but a few random
thoughts come to mind:
There are, of course, many types of mahogany and not all are classed as
'true' mahogany so we must be careful about over-generalising but
having said that, compared to maple/sycamo
Mahagony widely used at Gibson Les Paul electric guitars and
Rickenbacker basses. All these instruments are deepest godly sounding
instruments with lots of sustain. I dont think there is a room for this
wood at lute construction. And it is very heavy and color is hot with
deep pores
Bill and Ted,
I think the nature of mahogany would be counter to the needs of the lute
ribs. I've had mahogany "bodied" guitars, but the form of the lute and
the sound production is different. As a "joining piece" between the ribs
it should work, but the resonating body of the lute is differen
Bill,
Mahogany as an export timber arrived on the scene fairly late in terms of
lute construction. Very little of it made its way into European cabinetry
shops until the 18th century. Most of the mahogany growing at that time was
in areas controlled by Spain and in 1622 Cuban mahogany was dec
Hello,
Now this may be an obvious thing to say, but Anthony, please check very
carefully that the neck to body join has not separated.
All the best,
Art
> Anthony,
>
> That is a lot of movement. If the neck itself has not warped, then the ribs
> below the attachment to the neck block have. Th
Anthony,
That is a lot of movement. If the neck itself has not warped, then the ribs
below the attachment to the neck block have. The dome shape of the ribs will
not distort unless the ribs are very thin (1.2 mm for instance). Look
carefully at the shape of the ribs just behind the neck block. If
Thank you much for the suggestions!
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Andrew Hartig
Sent: Thursday, December 01, 2011 12:12 PM
To: lute-buil...@cs.dartmouth.edu
Subject: [LUTE-BUILDER] Re: Neck veneer inlay
I don't
Dear Paul,
As it happens you can see stages in the process in the lute I'm
building at the moment.
https://picasaweb.google.com/113751643198470818818/WhatIAmBuildingAtTheMoment?authuser=0&feat=embedwebsite
I do work the inlay flat and then bend it.
The full instructions on how to bend veneer fo
I don't know if anyone has responded privately yet, but I just noticed
that David Van Edwards has a new feature on his site where one can see
the current project he is working on, which just so happens to include
images of him doing a neck veneer inlay:
[1]https://picasaweb.google.co
Hi Julien,
I should start by saying this is just hearsay and speculation. The
times of transitional tuning seem to have been quite chaotic and
although almost all of Vieux Gaultier's output was set down many years
after his death in Dm tuning, it would be surprising if he was using
It's not so much that he's 'wrong' but that the evidence can be
interpreted in other ways..
rgds
M
--- On Sat, 18/6/11, Nancy Carlin
wrote:
From: Nancy Carlin
Subject: Re: [LUTE] Re: bandora tunes
To: "Martyn Hodgson" , "Stuart Walsh"
Cc: "Lute
e and Barley pieces and Dd.2.11 but
couldn't spot it there, but maybe the skimming was too light.
M
--- On Tue, 14/6/11, Stuart Walsh wrote:
From: Stuart Walsh
Subject: [LUTE-BUILDER] Re: bandora tunes
To: "Nancy Carlin"
Cc: "Martyn Hodgson"
Thank you for this Nancy. Unfortunately I can't find the paper to which
you refer on your site - it's probably staring me in the face, so
please point me in the right direction.
As an aside, without seeing your paper, I'm not at all convinced of the
existence of small Bandoras (ie
On 14/06/2011 20:08, Nancy Carlin wrote:
I think it is now common knowledge among the few people who build
orpharions and bandoras that the bridges should be tapered higher
off the belly on the bass side. Here is a link to some details on
the Palmer orphario (the 9 course in
Dear Martyn et al,
Just in answer to your surmise, this is Barley's instruction for the
Orpharion. In his instruction for the Bandora he just says that the
same considerations apply as for the Orpharion.
TO THE READER COURTEOUS AND FRIENDLY READER, as thou hast seene
before what
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