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Alfaraby
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Quote: Originally posted by jdowning  | the rosettes are in fact made separate from the sound board and are inset flush with the sound board surface.
.. it might be concluded that the rosette is the same thickness as the sound board (about 1.5 mm (?) without further reinforcement (?) and is glued to
some kind of 'support' that could be either a continuous ring or a series of small wooden blocks that form a ledge under the sound hole - as shown in
the attached sketch. |
In a Mahmoud Safi's 1957 oud a rosette was missing. A substitute was designed, cut & used as a trial, forcing it in "flush with the sound board
surface" . My luthier said it's schlemiel ! It won't . I bet it will. Eventually, I won ! Look @ the result. No support underneath were used. Just the
glue, though very strong one (Loctite super glue ultra gel). It soon became a part of the soundboard & can't be removed.
My question is why isn't this method used on regular basis by luthiers ? Is there a problem I can't foresee ? Is it the need to keep an access inside
the soundbox, that prevent them from this ? I wonder !
Yours indeed
Alfaraby
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jdowning
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Nice work Alfaraby! Nothing ventured nothing gained!
Hot hide glue applied around the edge of this type of rosette design - rather than any synthetic modern glue - would probably also work using a hot
iron to remelt any 'gelled' glue and to press the rosette into position flush with the sound board. In theory the rosette would then be removable -
provided the design of the rosette had a strong 'rim' or 'frame' to allow the rosette to be carefully pulled out (with a hook tool) without risk of
damaging the fine tracery pattern - once the glue has been remelted with heat and moisture in the usual way.
Perhaps this is how the rosettes in the Brussels oud were also fitted? That can only be determined by first hand examination of the instrument.
How thick did you make the rosette in this case?
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Alfaraby
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3 mm
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