Early Guitars and Vihuela

Baroque Guitar - Vihuela - Renaissance Guitar - Early mandolin - Gittern etc

michael Bocchicchio
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  • Rocklin, CA
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Rosettes; mufflers or mutes in disguise
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Started this discussion. Last reply by michael Bocchicchio Mar 29.

 

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Hello Alexander, Are the oils that you mention lighter than shellac? I have tried "True Oil" but have always been concerned about the weight. Mike
April 24
April 4
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April 3
March 31
I think that I would consider what Alexander observed in his research concerning the battente guitar and go the other direction: make the sound hole and carved rose the proper size for the instrument, and the drill the holes or ports as needed to ge…
March 29
Maybe this is to our ears today? Then enlarge the hole? I am adding a soundport to my first baroque style guitar, so I was wondering if I should shrink the main soundhole 1/16th or so, I will probably be using a wood rose to simplify the building. A…
March 29
Just by ear, if the holes are all very small it still sounds too closed, but it really has yet to be quantified because even two copies of an instrument are so different.
March 27
March 27
I'm not sure if I can give you an ultimate explanation but here are some thoughts and ideas ... To start with a bit of theory first, what you actually do by covering the sound hole (with a business card, as in case with your mandolin) is lowering th…
March 27
I think it is slighty more complicated than just the size of the hole. As far as I know not only the total surface of the hole but also the total length of edges etc. is relevant to the hindering of the air movement. On the whole I would like to thi…
March 27
March 27
March 26
March 26
March 26
Most rosettes are a bit too closed, but I had once a lute where the rose came out (removed by a viol bow), and then the sound was too open. I always wonder if the really fancy roses are too closed...but they look so cool!
March 26

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About Me:
I am 42 and a luthier in Nor Cal. Since 1990/91(?) I have been focused on building and playing the lute. In 91-95 I played in a Renaissance ensemble (those were the days!). In 2001 I studied continuo, but that is the extent of my formal Early Music training. I now am interested in the Baroque guitar.
Website:
http://mbocchicchio-luthier.com/

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At 12:36pm on April 3, 2009, Waling Tiersma said…
Hi Michael,

About the bridge coming off the guitar...
As you've read on my blog I'm an amateur at building instruments, so I presume I could learn more from you then vice versa but will gladly share my experiences.

I can't exactly reproduce the circumstances.
My 'workshop' is in the basement of our house. It's rather humid so I keep my tools and wood and instruments under construction elsewhere.
For jobs like glueing the top, glueing the bridge etc. I work in our living room, thus at 'room temperature' of around 19 degrees Celsius. Both times it was around April when I put on the bridge so I guess the heating was on resulting in low relative hunidity. I guess the thickness of my glue could be comparable to yours (thin cream...).
After the last time - having worked very clean - I tend to think that maybe I apply to much pressure, thus pressing the glue away into the soft woold of the top. (Bridge is was pear on both instruments).
At 9:35pm on March 27, 2009, Alexander Batov said…
Thank you, Mike. I've just added my more-in-depth answer about the roses to the thread that you've started earlier. As for the bubinga neck, I forgot to mention that this wood is as stable as others, provided of course that it's seasoned up properly, or kiln-dried at least to start with.
At 11:15pm on March 26, 2009, Alexander Batov said…
Hello Mike,
The neck on that particular guitar (fluted-back, 66cm SL) is of some other wood (can't really identify it ...), which is very similar in density (if not even heavier) to bubinga but not that interesting in appearance so I decided not to use it any more. My bubinga is more towards brown-red in colour (plus also darkening when finished in oil) and I'd say it combines with maple body and / or ribs rather well. My first experience of solid, heavy wood neck (ebony) was when I made my first reproduction of the Dias vihuela. And it does make the difference, no question about it!
Alexander
At 4:50am on March 26, 2009, David Tayler said…
Hye Mike--
I'm only doing Europe this summer. What are you building?
 
 

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