Quote:
Originally Posted by fregly
Bruce, has your violin making changed the way you build guitars? I wonder what crossover knowledge would be gained ; perhaps not much as the instruments are so different.
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I started making violins 20 years ago, and there is so little in common with flat top guitar making that I have been humbled by the task. Just learning to play the fiddle well enough to assess my progress as a maker has turned out to be more challenging than expected. But as I am about to complete my 12th violin, I can see that I am getting somewhere with it. If I am lucky enough to get another 20 years at it, violin making might prove as successful as guitar making. I can dream.
The only aspect of violin making that seems to be (obviously) bleeding into my guitars is the use of Pernambuco as a dye base. I am increasingly convinced that P played an apparently unrecognized part in Cremonese finishing process, adding an elusive beauty to the violins of that time which is often lost in modern work. This same quality serves as well when applied to many of my recent guitars, particularly the several Myrtle guitars you’ve seen pictured in my threads the last couple of years.