James M. Jones

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About James M. Jones

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    Enthusiast
  • Birthday 06/12/1966

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    jmjonesviolin@yahoo

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    Male
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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. James M. Jones

    Tapering the Ribs

    That’s my take as well. Unless the wood is internally stressed or desperately fresh, a little movement a mm or two won,t hurt anything. We are about to load it with apr 26 lbs of stress and all kinds of movement is gonna happen. Not advocating sloppy or careless work by any means, but in all trades there are acceptable tolerances. Working too close to the zero zero simply consumes time with no noticeable improvement.
  2. James M. Jones

    Fingerboard plane?

    Applying the biggest tool rule . A scrapper is handy for touching up after the plane , before sanding. As for dips, slight or not , you can,t make a hole go away by digging deeper, gotta focus on everything but the hole otherwise the overall geometry goes wonky bigly fast. My guess by the very nature of the question, is your best bet is to have a pro do the work.
  3. James M. Jones

    Tapering the Ribs

    Not that hard at all, if you can make any kind of half decent violin, ..you can taper the ribs , no special tools needs either.
  4. James M. Jones

    Brian Lisus' Organic Primer...

    Another brave soul ,thanks for sharing your methods , specifically the alcohol cut , I,ve been thinning mine with water a bit . Of all I have tried personally Like it the best, especially the natural quality of the color under varnish. Not saying I will never try anything else , in fact probably will , but....for now.
  5. James M. Jones

    Scoop

    I,ve come to think of this as, Trenching the channel. Of course channeling Strad has a more romantic sound.
  6. James M. Jones

    "Good" vs. "Bad"

    Here's a shot of Maggini and one of the back.From the book, Liuai in Brescia
  7. James M. Jones

    "Good" vs. "Bad"

    A veritable swamp for sure, however being long on courage and short on brains..... IMHO ...Art can be viewed as a communicator of sorts, reaching beyond the aesthetic.Good art can be seen as an effective form of communication.....bad art less so. So as one seeks to critique art , this filter may be applied in most cases. How does one feel while viewing the work? Does it connect with the bigger idea? Does it bear some relationship to the viewer? Does it fit? No mater how smooth the lines or precise the fit, a set of Strad ff holes doesn’t,t quite work on a DaSalo outline with double purfling and puffed arches, not that a individual person could never see it as nice , but rather because the majority of knowledgeable viewers would see the miss match and ask questions. In a tight field like violin making the range is narrow. In short, we must ask , how does this fit into the big picture? Personally, before considering fairness of line and arch, edge thickness, varnish ect,I look for a feeling of authenticity, does it fit?....a blurred line of sorts to be sure, but one that if sought after helps to sort things out a bit. Here’s a shot of DaSalo
  8. James M. Jones

    Does anyone NOT build Strad? And if not, why?

    Why? Might learn things you never expected to learn.
  9. James M. Jones

    Adjustable Bass bridge.

    From the interaction with the owner, it seems like it has never had a full voice. Also heard that Many original set ups on student grade was not , shall we say optimized by any means
  10. James M. Jones

    Wood with two visible grains?

    Let’s just say a heart side out off center slab wouldn’t,t be my first choice, I would expect ,all things equal ,it would have a lot of flex, being all rift cut across the majority of the width., that said if it makes a good fiddle , it,s good wood.. how,s the sound?
  11. James M. Jones

    Does anyone NOT build Strad? And if not, why?

    Yup, I like to think we’re all equal ....just some are more equal than others....experience seems to trump theory in much of the field.
  12. James M. Jones

    What to do about a bad glued back split

    What he said..might also ask what happened so it,s not repeated a second time, three times and you got a pattern....also consider starting the thread over in pegbox, might get more views /input discussion.
  13. James M. Jones

    Adjustable Bass bridge.

    Thanks , yea it,s a Krutz model, and a 5/8 th size. And brass, questions become how does size affect tonal production, I might expect it to be somewhat more limited compared to full size. The brass fitting just adds weight, so that makes sense to get lighter., out of curiosity, how much seasonal swing might one expect regarding string heights. .? Uber drastic? Or just so a pro would notice? The owner is in the student phase, couple of years in, rather on the short sire of tall, so the bass fits well, They .noticed a big increase in production with softer rosin and tightening the post a bit, moving it back to about 13 mm behind the bridge foot., I'd be glad to cut a real bridge , pro bono for the learning curve, maybe do some spectrum tests along the way. So how does one go about making a bass bridge the right way? I ...think I....know the feet get spread for fitting , I know I don,t know how much . Cut enough violin and viola and one cello , to do a OK job of it., it all about the bass.
  14. James M. Jones

    Adjustable Bass bridge.

    Thanks so much again for the responses, Just got back from visiting, here are some pic's seems Ike the top side is a bit off the center , extending the lines definitely does not line out with the feet, there also seems to be an overall concave facing the tailpiece , about a mm,strong.. as well measurement showed the wheel is not square to the feet. Any thoughts greatly appreciated.
  15. James M. Jones

    Adjustable Bass bridge.

    Thanks for the responses, In my personal opinion, the tone seems cloaked, with no projection, None of the fullness one might expect. The tonal color seems fine , just weak. No pic,s . I will be seeing the bass later this week , so will take a few then . Here’s a sketch of what is going on. Also what would be a good start point for the post. Half it's diameter behind the bridge foot? It was 16 mm moved it north to about 10mm, ran out of time to go more.