eric@phantasypsalteries.com
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In the most basic terms, a rosette is a decoration that sits around
the soundhole, while a rose sits in the soundhole. While its presence is almost entirely aesthetic, it does serve an
auxiliary purpose of reinforcing the wood around the soundhole opening. By
being inlaid across the grain of the soundboard, the rosette can reinforce a
vulnerable area of the instrument.
My standard rosette is a 5-sided shape that matches the geometry of the bowed
psaltery itself. It is inlaid flush with the soundboard, and is made of real
wood. There are a few main styles that I use for the rosette band, ranging from
about 1/4" to 1/2" wide.
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Standard Inlay Banding Rosettes |
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10mm (about 3/8") width banding - This
is the most commonly used rosette, which I use mostly for lighter-colored
tops like spruce.
This rosette banding has black and white borders with an interesting
light/dark striped wood pattern in the middle.
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5/16" width banding - I like to use this with
soundboards that have some subtle hints of red in them. My first choice
for cedar or redwood.
This rosette band has a white-black-white border, with a geometric
pattern of black, red, and dark brown in the center.
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1/4" width banding - This rosette band has a dark purple
body with an orange spiral ribbon over top. The spiral is outlined in
white, while the body is bordered by black-white-black lines. Because of
the somewhat exotic colors used, I like to use this binding for
vibrant-colored psalteries. Shown at left is the 1/4" width rosette inlaid in a
western red cedar top with padauk binding.
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Additional Rosette Options |
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Solid wood banding - I can make a rosette from any of the available
woods on the custom order page, including veneers. I cut the wood in a
strip and add a border of black and white purfling on the edges of the
wood to contrast between the soundboard and rosette. Please specify wood
type on special order form.
To the left is a rosette constructed from Verawood, inlaid in a Curly
Redwood top.
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Paua/MOP - Shell strips about 1" long by 1/4"
wide are pieced together and framed with a border of black and white
purfling around the edges. The strip is then cut and assembled into my
standard 5-sided rosette and inlaid into the soundboard.
Paua is a blue-green, with swirled and streaked figuring. It flashes in
the light when viewed at different angles. Paua is pictured at left.
MOP is another alternative, and is a pearly white. It has a flash
similar to paua but is all white. |
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Circular - A solid piece of wood, (or wood veneer),
is cut into a ring shape, and inlaid as the rosette. Just about any
available wood
listed on this website can be used.
Can be used standalone, or as a way of embellishing and bordering a
laser-cut rose.
To the left is a circular rosette made of Purpleheart on a custom
psaltery with a non-standard rose.
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Tiered - Layers of contrasting veneer are cut
out by hand and stacked and built up to form tiers. The end result is a
rose that is completely three-dimensional and uses nearly the entire depth
of the instrument.
Whenever this rose is included on a psaltery, the standard 5-sided
elongated rosette around the soundhole's rim will instead be substituted with a
hexagonal rosette to accommodate the required shape of the soundhole. (Or
a circular rosette can be used, as pictured to the left.)
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Laser-Cut Roses |
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| As you can see from above, there are a total of nine
different in-stock roses to choose from. Basically, there are three
different designs, available in three different woods.
From top to bottom, the wood choices are: Walnut, Maple, and Padauk.
From left to right, the styles are: 8-Lobe, Thin Knot, and Wide Knot.
These roses are inlaid flush with the soundboard, and are then the only
ornamentation on the soundhole. You may wish to also add a circular
wood rosette around the outside of the laser-cut rose for an added
decorative border. The overall diameter of these roses are 2 3/16"
- which is a larger surface area than a regular soundhole opening to
account for the area of wood inside the hole which is blocked by the
rose's pattern. Hence, the overall surface area of the rose's soundhole
should end up about the same as a standard soundhole, with little to no
effect on volume or tone. |
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