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Looking into the Workshop...
The processes from cutting a tree trunk into boards right to the
completed quality instrument requires many years of experience and
conscientiousness. To achieve concert quality the best of traditional
craft skills and technical development are brought together. Also more
recent concern for the environment did not pass unnoticed. Already in
1990 after a period of intensive research into the woodsurface
treatment of our instruments, we changed to organic lacquers and
natural oils.
We invite you to accompany the process of making a Lyre on these two
page spreads.
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...Selecting wood
from the stacks.
There are planks
of Sycamore and
Norway Spruce for
framework and backs
and fronts of the
instruments. Lime
and poplar are
used for infill and support.
To achieve the required
quality of timber it must
dry and be stacked
and re-stacked for about ten years prior to use. |

... Marking out
thr rough shape
with a template |
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Norway
Spruce
with cone..
Rough climatic
conditions and the
poor soil of the
mountainous regions
ensure firm and
compact growth of
this softwood to
serve the function
of vibration
transference which
requires elastic qualities
above all. |
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... Roughing out
the shape on the
bandsaw |
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Sycamore
in
its natural environment.
This firm deciduous
timber is responsible
for the tension
bearing stability
of the instrument
and offers particular
qualities in the transfer
of sound vibrations. |
... Cutting the
plank on a
bandsaw |
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Precise
cutting of the
crown joints
linking neck and support |
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Checking the fit
of the joit before
glueing. Glued under
pressure the frames
then need at least
four weeks to settle
in storage before
further work can be
done on them. |
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. ..A large
assortment
of side and frame pieces
is needed for selecting
different quality grades.
The wood - Sycamore
and Obeche -
must not become too dry
in storage so that flexibility
is retained for bending
into the required curves. |

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