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Everything posted by jezzupe

  1. I think I'll wait until Andreas comments. I will say that I do not see "many mistakes"
  2. Have you ever evaporated your residual "wood juice" to see if the residual powder would work as a colorant? , which I assume would be tannins sugars and trace what nots. I don't think it would be good for violins but may be okay for a general wood stain, I wonder if that would be lightfast?
  3. I do suggest you post as many as you go pics {perhaps in the makers gallery} and that way you will get lots of advice,also, wood selection is a huge one, I have made fantastically carved instruments that sound like crap {somewhat knowing it ahead of time} just because the wood looked so good, for example a redwood burl back guitar, knowing it wasn't the best choice, I just wanted to use it for a back case it was so cool looking, but assuming you will be sticking to tradition I do suggest trying to understand tactile handling of material and how to "read" what you senses are telling you about what you have in your hands...Beware of the Englemann
  4. and for my next trick....a Marimba!
  5. Well all I know is as one who pushes the boundaries of glue based on making parquet backs where there is lots of end to side as well as 45 end to end gluing that I have only had one back distort to the point of needing a repair...so far, and that was with purpleheart which is pretty dimensional unstable, but I often have dissimilar species glued together and have real good results with epoxy saturation sealers freezing the wood and "virtually" stopping all expansion and contraction, which is great cause they never need tuning, well hardly and the glue joints don't get stressed I would say as a person who grew up as a contractor in a contractor family that "we" didn't know the numbers as presented by this guy, but you sure would get enough real world trial and error to basically know what this guy proved, and well frankly for me its a big part of not having any concern about starting to make parquet backs
  6. Let me ask you a question, So, you want to seal the top, but not the maple and ribs.So lets assume you do that...Then the next question is when you put your first coat on the maple and ribs, what do you call that?
  7. I charge way extra for that delivery option.....but I do have several cowboy hats and do offer the assless chaps variation with a motif on the theme
  8. I assume your first was made in 1989? if so I would ponder how many you have made since that time? Because the answer is that you set it aside, and build another and another and another. And thinking of this somewhat like a contractor you have to really "get it done" and move on to the next one, IMO one should be able to produce 12 to 15 a year , with maybe 8 being a light year, and only through this not rushed yet extremely driven approach of trail and error are you going to improve, as well as the back to back thing creates a "flow" that also contributes greatly to tonal success, so in short by the time you build "a hell of a lot of them" you will be able to answer your own question, have much more of a knowledge base and be able to go back to that sucky first one, and know exactly what to do as you chuckle at yourself and "look back" at just how crappy you were "back then" . Unfortunately the only way to become really good at skiing is to go skiing a lot. Not seeing it, not seeing the build and just well everything ,any advice would just be generic banter.....or see Jacobs laconic post. And well forgive me if I'm wrong and you have made several since 89', but something tells you have not? I guess just because I don't think you'd be asking such things if you had. and, and, assuming you will start another , as you build it you come here and ask questions of the peanut gallery as you go, where we will all argue over what we think you should do, and then you can laugh while you decide who's advice sounds best.
  9. cuz that's how you make the big bucks
  10. Oh just let it die already so that means the secret is jasco stripper!
  11. Well I suggest getting wasted and using a screwdriver that you sharpen on the concrete sidewalk , seems like a good place to start
  12. Do not run two pieces at the same time, use two speed squares to make sure the plate and edges of your joiner are perfect 90. Unless the blade is trashed It will be squared up, if it's not there is a set up problem with the machine, or you are running warped material. Running two pieces at the same time is a quick way to get off square and could be dangerous
  13. I would suggest making a small batch, purity from water at 95% is what your hoping for, but just cause it says so doesn't mean it really is, so I'd test it out and make sure it doesn't make "milk" and that it is not prone to excess blushing at in good conditions when drying
  14. Poor guy, didn't you get the memo , we're all leaving, well, because crap like this, you can't just buy everclear either, or at least not the 190 stuff
  15. Right and again I think that all gets right down to levels of sophistication, but then that begs the question, can not an un-sophisticated listener enjoy a crappy sounding violin just as much if not more than a Strad, and even if 100 concert violinist's told them they were wrong, would that person be wrong for enjoying "that" violin and its sound more? This of course slams right into bluegress and "twang centric" tone which is a completely different, yet , not to be disregarded "thing" nor are "hybrids" {which is what I focus on} . And I would NOT like to see AI be able to do any task a human could do, but I know it's coming and hopefully I'll be dead by then. Pandora will not be stuffed back in the box
  16. Ya, well I still think we need to do the psychological/emotional response research. I think if you had a room full of violins, say 20, and a room full of UN-SOPHISTICATED listeners , say 100 , who could give a rats ass about Strad, Not telling them anything other than to list the ones from top to bottom they liked and you could somehow force them to go through listening test's , and then repeat this over and over, I do not think you would find Strad coming out on top, I honestly think it would be 50/50 odds for every violin there, from 120$ outfit violins to the Strads And furthermore, that having any foreknowledge of what the instrument is, or really even any level of sophistication in regard to classical violin music would pollute their ideology and effect their emotional response about it. Thinking of it like a jury where the lawyer was excluding a certain "type" of person from the lineup, I feel to get to the bottom of it you would need to ask the people who would be least likely to know such things.
  17. I agree and I think we all have to know that a person who is 78 with hearing deterioration will not "hear" the same thing that a 20 year old would with supreme hearing and peak physical "equipment" So again I think we all are back to subjective reality and chasing the impossible dream. I think the best one can hope for is that when they build a violin, and they do sound tests and make graphs, that the signature "looks" similar to well know Cremona instruments, {if you're into that sorta thing}and that when it is heard, by sophisticated listeners that there is some consensus that "it sound good" Because I'm sure there are some instruments that don't have nice looking charts that are well loved and played by pros and amateurs alike, just like I'm sure there are ones that have great looking graphs that many think sounds bad. Again eluding to there be something more to it all. That's why I think introducing quantum acoustics into the picture is relevant. Don and Andreas in another post said we should focus on the important parts of sound that we can hear, I am suggesting that the sound we can not hear is influencing that which we do in an unexplained way that perhaps dramatically effects what we percieve as "quality of tone" and I do think the bow is a huge part of the "human" experience related to quality as a good listener can detect the difference between bows when they are switched back to back , particularly if you ask the player to do "crunch attacks" on the lower G and low double stops , a sophisticated listener can hear the difference in grip if two bows that are very different in weight and hair load are used, at least I can I remember doing some listen tests with one bow that was very light with a low hair count against a very heavy one with lots of hair, using freshly rosined bows, you could easily hear how much more effort had to be put into the lighter bow to get the same crunch from the heavy one, the impact was distinctly different and in the same breath you could hear how the light bow was far better for "sweet light" phrases {think Mozart} and how the heavy bow you could all most hear the player holding off to get the same level of light interaction, basically all of these things contribute to the listener experience and perception of tone.
  18. I think he saying that when he wears his "researcher hat" he does not need that information, I have a feeling when he is making /selling violins those things matter, however I could be wrong, maybe he has robots as clients?
  19. Yes, I think it goes deeper than that because these are tones we can't hear, but may be able to "feel" or sense, and may be able to detect through inner ear and bone excitation, thus adding a layer to our sensory input that we may not be aware of
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