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PostPosted: Fri Jun 14, 2024 11:29 am 
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First name: Jay
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The way I've had my top and back & sides sets stored has been a point of irritation for years. I had them stacked on various shelves and typically the sets I would want to look at or use would be at the bottom of a stack which meant unstacking and restacking, sometimes on a high shelf. I finally got around to reorganizing them. They are now all on two shelves that take advantage of the 11-foot ceiling so that they are up and out of the way, and they are stored on edge so it's much easier to get to individual sets. The back & sides sets are arranged up top from Ambrosia Maple through Ziricote.

I need to fill that empty space quickly so it doesn't become a magnet for more wood.

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New top and back & sides sets storage.jpg


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These users thanked the author J De Rocher for the post (total 7): Kbore (Fri Jun 21, 2024 11:17 am) • Robbie_McD (Tue Jun 18, 2024 7:31 am) • rbuddy (Sun Jun 16, 2024 8:44 am) • Hesh (Sun Jun 16, 2024 1:44 am) • Pat Foster (Sat Jun 15, 2024 12:27 pm) • bcombs510 (Fri Jun 14, 2024 6:15 pm) • Michaeldc (Fri Jun 14, 2024 2:16 pm)
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PostPosted: Mon Jun 24, 2024 9:57 pm 
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Cleaning up the binding on this one, I spend entirely too much time thicknessing veneer

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These users thanked the author oval soundhole for the post (total 10): Doc (Thu Jun 27, 2024 8:20 am) • Kbore (Tue Jun 25, 2024 8:11 pm) • rbuddy (Tue Jun 25, 2024 3:42 pm) • J De Rocher (Tue Jun 25, 2024 11:16 am) • bcombs510 (Tue Jun 25, 2024 9:11 am) • Ken Nagy (Tue Jun 25, 2024 7:42 am) • Hesh (Tue Jun 25, 2024 5:32 am) • Colin North (Tue Jun 25, 2024 2:31 am) • Pat Foster (Mon Jun 24, 2024 11:29 pm) • Chris Pile (Mon Jun 24, 2024 11:26 pm)
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PostPosted: Tue Jun 25, 2024 2:37 am 
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Brian, that's a very well executed piece of work, and that top is very tasty.
I'm sure the owner is going to feel privileged.

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The name catgut is confusing. There are two explanations for the mix up.

Catgut is an abbreviation of the word cattle gut. Gut strings are made from sheep or goat intestines, in the past even from horse, mule or donkey intestines.

Otherwise it could be from the word kitgut or kitstring. Kit meant fiddle, not kitten.



These users thanked the author Colin North for the post: oval soundhole (Tue Jun 25, 2024 11:46 pm)
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PostPosted: Tue Jun 25, 2024 11:49 pm 
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Colin North wrote:
Brian, that's a very well executed piece of work, and that top is very tasty.
I'm sure the owner is going to feel privileged.


Thanks Colin! This one is for Guitar Salon International so I'm curious who the owner of the guitar will be! I've sold a few guitars through Siccas in Germany but this my first through GSI; it's a bit surreal to see my name on their website now considering how much time I've spent there

https://www.guitarsalon.com/blog/cs-brian-itzkin-2024



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PostPosted: Wed Jun 26, 2024 5:02 am 
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Bravo Brian!

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PostPosted: Wed Jun 26, 2024 11:59 am 
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oval soundhole wrote:
Colin North wrote:
Brian, that's a very well executed piece of work, and that top is very tasty.
I'm sure the owner is going to feel privileged.


Thanks Colin! This one is for Guitar Salon International so I'm curious who the owner of the guitar will be! I've sold a few guitars through Siccas in Germany but this my first through GSI; it's a bit surreal to see my name on their website now considering how much time I've spent there

https://www.guitarsalon.com/blog/cs-brian-itzkin-2024


Your instrument absolutely belongs there, for a short while I'll bet. Outstanding!

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PostPosted: Sat Jun 29, 2024 8:20 am 
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I'm still very surprised that you can carve an instrument using tapping and scratching. I did spend a lot of time planning out what the low point of the arching should be. It goes from a 13mm rad, to a 110mm rad. Somehow you blend them in. I wanted it to be a pretty high arch. It is probably about 22mm, but my thickness gauge only goes to 10mm! I was going for about 21. I roughed it to a little under 23, and probably took off at least a mm. I put a full curve in at the edge of the C bouts. The poster I have of a Guadagnini viola has a thick, almost flat edge.

This is close enough for now. The arching will change some after the f holes are cut in. I won't do that until the inside is roughed out. The area around the f holes change because of the holes. I'l do the outside of the back next, trying to get the scratch sound the same. Then work on the insides.

The arching went VERY fast after getting the recurve area in. Even doing the recurve was faster this way, than doing it last. It is tapping and scratching, and cutting away the high areas; but you can see and feel the high areas too.

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PostPosted: Sat Jun 29, 2024 9:06 am 
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Ken, are you saying that you are using the scratch and carve method to do the carving of the outside of the plate, before the inside is carved out at all?? I envisioned it working once the plates were mostly carved, inside and out, and for final thicknessing.

"This is close enough for now. The arching will change some after the f holes are cut in. I won't do that until the inside is roughed out." Ken N

Next time I make a carved plate instrument I'm definitely going to try the scratch test.

I have trouble picturing how it would work on the outside of the plate before the inside is carved. Also how it wouldn't cause visible variations in the outside surface you wouldn't want. Carving to scratch tone on the inside surfaces should do the same thing and not disturb the visible surfaces. It's not like wood is a uniform density material and I'd think variations in density would influence the scratch/carve.

Or am I missing something as I work thru this in my head?

Thanks

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PostPosted: Sat Jun 29, 2024 10:06 am 
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Brian, It just works. In one of the videos of Peter Westerlund, he shows that it works on a plaster cast of an old instrument. You can HEAR that the outside is pushed out from the bass bar. It is just a solid piece of plaster. You can't see the bulge, because it is spread out over a vey large area.

I have done it after it was rough carved too. The archtop belly was already roughed inside and out, and it was tunable. I carved the little baroque uke braces with scratching. I even tuned the bridge on the test viola using tapping.

I've been doing it to some extent for a long time. A violin maker who started by making harpsichords used Area Tuning. Keith something. Keith Hill. You can't really thickness a large harpsichord soundboard with any sort of caliper. So you tap. But he was only using it over smaller areas on the violin, and tuned them to different pitches. Now you CAN hear all kinds of pitches when you tap. Depending on where you hold it, and where you tap. The guitar belly has tones all over, and the low tone will be lower as well. Way lower than you might think. But that tone might be your ears putting the higher harmonics together and giving you the low A below the guitar E.

For tuning you aren't really listening to free plate modes. Those are cool, and you can hear all the overtones; but that isn't what you are doing. In the area tuning by the harpsichord maker, he damped the area around, and I think he got the notes from the tapping with the edges held down, like you could do with the belly of a guitar clamped on a fixture, and carving the braces. I haven't done that yet.

The outside shape was even tuned. The ledge has to be pretty regular, a high spot on the thickness, will make it seem like the edge is too big.

Carving this top, I roughed it to the recurve, and got any bulges out of it. It went really fast after that. The archtop was carved inside first, like I usually did, and it was good. The experiment viola ended up with an inside that was the same as my usual inside first plan too. All catenary curves.

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PostPosted: Sat Jun 29, 2024 10:50 am 
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Thanks Ken. I watched a couple of Westerlund's youtubes and I can see how it works for him.

Next time I build with carved plates I'll give it a try.

Always nice to see a new technique.

Years ago I bought a set of tuning forks and I've used them to test resonance of guitar plates, that's like using a sledge hammer compared to rubbing your fingertips over a surface and listening, but it tells a story too.

But I use my fingers a LOT, like a magnifying glass, its better than your eyes at seeing surfaces.

And some pieces of wood just sing with very little prompting, just picking them up and you say, WOW.

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PostPosted: Wed Jul 03, 2024 5:27 pm 
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Last piece of my #3 Dreadnaught. Installing it shortly


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PostPosted: Wed Jul 10, 2024 10:36 am 
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Getting materials together to build a mandocello. Red spruce, Indian rosewood, curly maple binding, Khaya neck blank. The last mandocello I built had five string courses. This one will have the standard four courses.

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wood for mandocello.jpg


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PostPosted: Wed Jul 10, 2024 11:19 am 
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Nice, Jay! I love these types of pics. All the potential laid out in front of you. So cool we get to turn a pile of sticks into something enabling musicians to express their artistry.


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