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James M. Jones

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About James M. Jones

  • Birthday 06/12/1966

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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. My only real concern with kiln dry as Stated is the relative stress that may be imparted during the process…back in the day , kilns were harder to control and less was known of the effects, they also could accept more of a waist stream so cracks and warps could be simply burnt as fuel for the next train load , in short modern kiln dried wood doesn’t seem to have the same negative impacts as what grandpa got … to quick and hot and dry , can stabilize the outside while the inside is wet creating a stress jacket of sorts , that when cut into can reveal warping with one side , if the wood is otherwise suitable as far as density and quarter goes ,I’d say try And cut a blank and see if it moves …
  2. What an awesome project to be a small part of , thanks to everyone!
  3. Thanks for the explanation! That certainly fill in a few knowledge gaps .. I’ve done the limed version several times . Also the raw rosin , with a long cook as per R. Hargrave. Thanks again for taking the time to educate.
  4. Could someone please explain just a little of what resonate varnish is? And what the perceived advantages are over A straight rosin oil cooked varnish? All these years and I’ve never really got it….
  5. Ive set maybe 40 or so , 28 on my own work and the rebuilds of old bin boxes … Kind of in the same boat with around 3-4 plus hrs give or take on my new work . on a technical level, next to the neck set, it has to be about the hardest joint on the fiddle to master and a critical one to get correct, no sense rushing.
  6. I strongly encourage a beginner to not purchase top shelf wood , or buy it and put it aside for after a few instruments are completed, chances are the first violin will mostly be an exercise in methods as much as violin making, unless your coming into this work with a considerable skill set in wood working , there will be mistakes. For the most part “good wood” will be in the middle to upper price range .a top with a bit of charismatic variety in grain width and a less than spectacular flamed back has just as much potential as any “master” grade wood does , if other parameters such as good quarter, density, little runout are set as priority. That said the first decision of many is wood selection…
  7. If the maker were alive and cared At all , I might agree … for the most part from the some of the ones Ive seen terms like” thick as a brick “ , and “ heavy as lead “could well be the best applied … unless one is intent of preserving a record of the downfall of classical instruments in favor of mass production, re barring and graduation is the only viable option. Many of the ultra heavy violins are actually made of decent materials and model , made for catalog sales in places like America they didn’t need to have Strad tone , mearly the appearance of quality in its description.
  8. Sure! Just don’t call me late for dinner …
  9. Thanks Davide, that’s a ton of fun .
  10. Thanks guys ! I kind of like it … The M is for Michael … ? Lol
  11. Put this way, I’ve seen two hundred yr old beams joists set to solid curves over the course of time , solid wood moves on a molecular level similar to tar . Under stress. I just went through my copy of violin varnish (the big book of…).where they show many of the side profiles of classical Strad violins viola and cello as well as an Amati and delgesu ,and asked the question, would a circular arch deform under pressure this way …. Over time? And the resounding answer in my mind was… yes . Of course humans made them and humans are flawed , but on the hole it seems to my eye they started out , at least sort of circular. Definitely within reason, in addition the backs all seem a little peaked through the long arch , not exactly pointed but moving in that direction as if the whole body has followed to some extant the strings . I don’t doubt that many makers have elongated the arch into a flattened curve , everyone is searching for the grail, but can’t simply dismiss the idea of a pure radius as a sort of starting point , a pure radius would definitely fit within any design ideas Of the day.
  12. Wondering , if you could help me latinize James M Jones … might help sales … lol also a post address in Cremona! Lol over the years , I’ve enjoyed your contributions and videos very much and like to think you deserve every success , Cremona or no Cremona!
  13. I agree , it certainly did draw on previous ideas … and while “unique enough” in many respects ,and in fact superior in many others , it was still largely recognizable to any of the contemporary players of the day I am Not trying to take anything from Amati ,a s much as Building context that the violin arose from .
  14. Put this way , his instruments obviously compete very well , and he likely was the first to make a violin proper , they have virtually all been modified. Probably new bass bars , necks , upper block replacement and likely regraduated to some extant. To my knowledge virtually all have some reworking. now If I made a violin today ,to Amat specs, and hand it to a good player who lacks knowledge of baroque necks ect , they would probably hand it right back on account of the neck alone. the bigger point remains ,He probably didn’t simply create or invent “the violin in a Vacuum , any more than George Washington just made the USA … there was a ton of stuff going on with shape and form and methods . He had tons of input from many sources. Even people like daVinci often stole ideas .
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