A classical embergher reproduction

[labraid]

We're back.

Bowl now complete, the neck is being veneered.



This one is all in Claro walnut, with a two piece headstock, a la guitare, to eliminate the need for strengthening face veneers. The neck is being veneered to cover up the join, and also in preparation for the final bits of the skirt which will overlap it slightly.

[JeffD]

Wow.

I can't tell from the picture, how many staves to the bowl on that.

[labraid]

That would be 28 staves

[Eric F.]

Wow indeed.

[JeffD]

I really hope for you that these catch on. We really need more contemporary bowlback makers here on this side of the Pacific. Brian this the second time you have gotten my MAS to fester.

[labraid]

Thanks guys. I should have an update in another week or two.

[Linda Binder]

Thanks for posting the picture and update Brian. #Your work is always something to behold. #Looking forward to the next installment!
--Linda

[Alex Timmerman]

Hello Brian,

Indeed like Linda writes "Looking forward to the next installment"!


Greetings,

Alex

[vkioulaphides]

VERY impressive! I am remiss in reading all the other threads, having just gotten back from a trip. What did you decide on, as regards those specs you were asking about the week before, i.e. nut-width, etc.? I add my voice, among many, to those who wish you success and eagerly await updates of your fine workmanship.

Cheers,

Victor

[labraid]

I went ahead with 7/8" figuring "what the heck". It will come out a bit wider than that in the end, which I'm perfectly alright with, and all because of the neck veneer on either side of the fretboard. Not much though.
I'm also diverging in that there will not be an assymetrical neck profile, shifted thicker on the bass side. I don't know about that anyway, I figure if someone were to commission one after playing this prototype, they'd let me know all their personal preferences.
As regards tone, I'm closeting all desires to add my own ideas into the mix. I'm tapping and bracing for a treble-strong mix.
Here is the peghead prototype, fairly close to what I'm aiming for. All thoughts are welcome on this.. The scroll is very light, being made of walnut, weighing no more than a straight headstock of dense maple. In effect, I think this scroll makes up for the loss of mass had I used maple. Anyhow, this is my go at it, still in semi-rough state as I tweak.


The perspective on that one makes the scroll look giant, it is really just a close perspective.

[vkioulaphides]

"...an assymetrical neck profile, thicker at the base."

I am not sure I understand you... do you mean thicker at the base? That would make sense, but I'm not sure what you have in mind. I rather suspect you mean something far more sophisticated than what I can come up with. Enlightenment, please?

Cheers,

Victor

[labraid]

Sorry, Victor, I spelled phonetically and posted frenetically.
I meant to say "bass"... the modified "V" profile which is thicker on the bass side of the profile, than on the treble. Assumingly for ease in fretting. My slight and understated V profile is centered down the neck.

[Bob A]

I believe that Embergher necks are symmetrical; it's the fingerboard that is thicker on the bass side.

FWIW I find it a pleasant instrument to play, even with the narrow tilted board,

[Acquavella]

Is there a reason you went with a Calace headstock instead of the traditional Embergher? The neck looks more like a Calace as well. The "V" isn't pronounced enough to be a Roman style instrument. It is the fretboard that is more pronounced on the bass side...so to speak. There are good pics available at Embergher.com

[labraid]

Yes, I went with the scrolled headstock because, simply, I like it a lot.
That being said, this one is a prototype and I hope subsequent versions will be a bit more appealing to the eye.
Yes too, on the profile. I don't know, I guess you guys are calling my bluff on this one hehe. It's only an Embergher ias far as the bowl and table are concerned. I've never been one to copy anyone's design to the 't'. Not only because I respect their artistic rights, even if no longer with us, but because I have my own I hope to sharpen one day.
On the following photo, forgive me, Lorenzo Lippi. I do not intend to make a habit of posting your research, if it is a problem we can take it down. If anyone is wondering, this is taken from M. Lippi's set of four posters outlining the Embergher mandolin. You can contact him for a copy of them. Anyhow, this illustrates the neck profile, of which the V falls off of center as we progress to the heel. I think my visualisation tendencies might have gotten the better of me though, because if you look at it one way it appears the V moves toward the bass side as you progress towards the heel; then taken literally as a schematic, the V graduates towards the treble side. Anyone have one in hand they could verify, the V is thicker on the treble side?
I went with symmetrical, again, because that's just my thing. There were a lot of strange ideas floating around that time, especially in musical instruments. I don't usually go the straight and narrow for aesthetic considerations, but playability I'm real touchy on. Simply, I've never played an asymmetrical neck, but I know that Napolitains are the most prevalent for classical, correct me if I am wrong, and they are what most players are probably accustomed to more often than not.