Unusual working methods for extraordinary instruments
When Konrad Kohlert recreates an old master instrument, he strives to get as near to the tone of the original as possible. He does this using an unusual technique. Like with a cathedral, he first plans and designs the interior. That means, and here he departs from the approach of many colleagues, he starts by designing the interior arching. The plate thicknesses are then added from outside. In this method, a small conical pear-wood pin, the "central pin", is placed at the centre of resonance (centre of gravity) of the back plate.
"The internal volume of the corpus, that is, the internal arching, is decisive to the tone. The advantage of this approach is that I can directly influence the tone from the outset. However, this method is more time-consuming and can only be performed by hand. It is not suitable for machine production. That is perhaps the reason why this construction method is not very common."
Construction of the rib
Kohlert makes the ribs according to the Italian method, based on the interior shape, with C-bouts that run long and at an obtuse angle into the corners.
Varnishing according to the Cremona method
The instruments are varnished with a relatively soft and thin layer of oil varnish - coloured with pigments to give them that gold-brown Cremona appearance. Konrad Kohlert makes his own varnish according to his own formula. Most instruments are built as replicas. This demands a preparatory treatment before they are varnished.
From tonewood to master instrument
Konrad Kohlert builds each instrument by hand down to the very last detail. With his experience, endurance, dedication and intricate manual skill he produces master instruments with exceptional tonal and playing quality. And outstanding beauty.
