James M. Jones

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About James M. Jones

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  • Birthday 06/12/66

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    jmjonesviolin@yahoo

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    Mason Wiconsin U S A
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    I have been working as artist craftsman since 1983. In 92 I began a three year apprenticeship for blacksmithing /doing fine architectural work in the high style. and have been working in the field since .In2007 I was able to attend a semester of violin school. My goal is tho create works that honor the work of the masters . I am happy to have MN to continue my learning

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  1. plate tuning specs ?

    I whole heartedly agree, the tool does not have the capacity for precision work nor does it have a broad scope of reach, however a wedge can be used on the outside to get a pretty good idea of what’s going on. Perhaps most intriguing is the over the bridge capacity that leave me to wonder if modifications while set up in the white might have been done, of course we would feel much better if we knew all things for certain , but the thought does seem reasonable.
  2. plate tuning specs ?

    I think so , this tool fits well over the bridge.
  3. plate tuning specs ?

    Sam Z, wrote a piece a while back about the differential deformation of tops and backs, depending on arching , thickness and probably other things like soundpost tension, and rib thickness, the top and back may have radically varied widths and length. arch heights will also be affected. A lot of what we do in terms of new building with classic goals ,has more to do with carefull extrapolation of possible start points from distortion,than copying what is there currently.
  4. Wood feature in cello top: Problem or not?

    The Messia has one in the upper treble bout. Yup, not a problem, in fact .....helps give a little uniqueness to it I dare say.
  5. Violin geometry references

    Just had mine.... love the vid....times ticking , gotta pass it on. David Burgess,thanks for the confermation, I agree ,a little fudging and some something something, and yes it could work out.
  6. Violin geometry references

    Sorry to edit so much ,and nice job producing it, takes me back to middle school where I enjoyed geometry a lot, as for the last example though, maybe I am wrong, but I don,t see classic Cremona c bouts here., the optical illusion of pinching in the center , straight into the corners almost back bent, and pinching of the corners is to much to wrap my head around. Got any examples of your finished work compaired to others? For me it points out at the very least the need to have at least one good eye on the job. At the risk of sounding stupid and confrontational ,I think trying to place to much emphasis on academic analysis on a non academic trade ,even one as well defined as Classic Cremonesse may be , runs the risk of becoming overblown and self agrandized, among crafts women and men, as well as artisan of all types the absolute best stuff is decidedly not on the web, or in an archive , it,s in the heads of the practioner and on a good day only a fraction will be documented, this leaves us with personal experience with masters to draw from, among those masters there seems to be a common ,almost universal process of learning to see. How to look and judge , look judge , measure , check your eye. . I do appreaciate that I n all likelyhood proportion and ratios were a consideration even to a rule or priemium,and probably held some sway in establishing a framework, but, after that I also believe that working artisan craftsmen took over and embed something more, either way it would be extremely difficult to go wandering in the wilderness and come out with a classic cremonesse violin given only tools and no pattern or measure. Just for fun, been workin on the bowl on and off for years , building the adze got me goin back on it, used some circle geometry on the bowl , also lots of eyeball and elbow grease.
  7. !8th century working methods

    Agree....on parameters , yes they have changed substantially over the course of years, it seems to me the concept of symmetry was not the mode but rather” balance and same “as a predominant goal. Perhaps due to lack of method, perhaps due to lack of interest.perhaps an artist statement,what we see as imperfectly symmetrical,,they just didn’t care? As a trained Blacksmith of ancient hand to hand knowledge we were taught this point of balance and equal vs precise exact and symmetrical , looking at old iron of the period to me reveals that deep connection to process and product that can not be replicated in any other fashion, even the grain of the wrought speaks to method and mind. I believe that the trades of the time shared certain mindsets in common, do good work, work hard,do it right,do it quick, practice and learn,,don't get personally involved with every chip and minutia, use the best tools availed , build for posterity and integrity, remember where your going.
  8. Stradivaris viola d ́amore

    Gamut strings , made in Duluth Mn. .... bueatiful work as well'
  9. !8th century working methods

    Like on th geometric thread ,I can't say one way or the other produces “better” results than another especially when tone is a factor, however if one of the goals in making is to shadow the crmoneese master works then understanding methodology and manner seems like a good way to go about it. ...Norm is ok, but I much prefer Roy Underhill.
  10. Thinning varnish

    If there is one thing I have learned through the years here, is that more often than not ,there is more than one solution to any given problem.
  11. re-gluing the fingerboard

    The Saunders method works great,I would add the good old pop sickle stick trick works as well.
  12. Saving the mold

    Gotta get the corners out beyond the shoulders first, then the end blocks will move north and south to clear the linings. Helps to do a bit of rough removal of stock inside the corner blocks as well, but not actually needed.
  13. Beady eyes... extreme version of fisheye

    How long was the burgundy cook? I ask because this past summer I cooked quite a bit of Black Spruce for color, noticed that a real long cook left me with something insoluble in alcohol and a varnish made of this did a similar thing, beading, reducing the color cooked rosin to an additive of a regular rosin oil varnish,seems to have smoothed things out. Not using any solvents, just hot mixing linseed to thin to a workable consistency.
  14. Downforce Experiment

    Waaay cool Carl 1961. The level of genius here always leave me looking up.
  15. Violin geometry references

    Turns out there's more than one way to build a boat as well. Most builders I have worked with use fairing sticks to work out the inevitable discrepancies from scale measurements to full size, they always referred to "eye sweet" or to "put your good eye on it" measurements and theory are all good and all ,but the real test is how she rides and handles. The best boat designers all seem to build upon the past, are not restricted by dogma ,willing to gamble a bit on outcomes, and use whatever means available within their grasp.