The set up, the geometry of the neck angle, string height, and bridge height, is critical for the playing of any stringed musical instrument. You can build the best resonating box ever, but if the interface between instrument and musician is crap, well then, nobody will ever want to play it.
So I am working on the neck, fingerboard, and bridge now.
Part of that is ot make up dummy patterns of the the fingerboard and bridge to work out the shapes first.
And another part of that is to prepare some purfling for the fingerboard and tailpiece border.
I also turns out, a discovery that I made after rough cutting the Santos Rosewood Fingerboard, is that many viols had a hardwood laminated over a lighterwieght wood core, in order to keep the mass of the instrument down.
Hmmm, do I or don't I make it that way? Not too late. Yet.
So I am working on the neck, fingerboard, and bridge now.
Part of that is ot make up dummy patterns of the the fingerboard and bridge to work out the shapes first.
And another part of that is to prepare some purfling for the fingerboard and tailpiece border.
I also turns out, a discovery that I made after rough cutting the Santos Rosewood Fingerboard, is that many viols had a hardwood laminated over a lighterwieght wood core, in order to keep the mass of the instrument down.
Hmmm, do I or don't I make it that way? Not too late. Yet.
No comments:
Post a Comment