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James M. Jones

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Everything posted by James M. Jones

  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 .
  15. Possibly, but for that matter not many modern players would accept a violin from Amati with the heavy thick neck nailed on and possibly heavy graduations… I am not say Amat didn’t or wasn’t the first to produce a violin per say though, simply that he probably didn’t produce it in a vacuum, sort like how American history wasn’t simply the result of the Declaration of Independence being written… from a linguistic standpoint a violin is a small viol is it not?
  16. One might add , that before the violin was “ invented” by Amati, there seems to be a strong link to violas and Brechia. , Perhaps it’s more of a discovery than an invention in some respects, certain technology such as bent vs carved ribs made the shape and tonal improvements and the narrowing of the waist made access with the bow possible.
  17. Perhaps even more important is player input and audience input …. In the end they are the deciding factor in what “good” is.
  18. It sounds like your offering to make a violin to Dennis J and others patterns? I’m with The make chips fall camp … the problem as I see it , is as much as anyone might describe a “concept” there’s so much tactical information and the physical properties of the wood that rather preclude being able to accurately transfer any knowledge a maker might have . Sure the gross concepts are easy to relate… but it’s the pissy little details that grab one by the short and curlys.
  19. I’m still wondering what that calculated position is , and how you arrive at the “crucial .” Do all great violins share this inflection point location? Is there some ratio of width to height? Any numerical relationships of width to height? Or are you “calculating “ with guess work and French curves then ? There’s so many possible curves that can blend nicely. Years ago , I think it was R Hargrave wrote some stuff about his theory of arching, he didn’t (as I recall) talk much of the long arch form specifically, rather the idea that the arch was made and more or less finished down to a platform edge of approx 5mm thick .that plate was then glued to the neck and rib assembly, for final profile edge work and purfling inlaid, only then was the scoop … scooped . This final scoop seems to have often been hastily carried out leaving a somewhat less than perfect juncture between the two efforts. I’ve never personally observed this detail nor have I ever had the courage to scoop the edge while the box is closed, however, I see no reason to doubt R’s integrity, if this is true it rather throws out any idea of the need for a critical location (within say a mm or three . )of the inflection point .
  20. I’m curious, when you say calculate… what formula are you using to decide height of the transition? And how are you generating the cross arches ? Personally I never bothered with the distance off the rib surface height other than long arch heights and edge thicknesses, but not for transition from concave to convex. , but rather distance from edge , usually about 15 20 mm or so varied by exact position, with the cc. Bouts, substantially less ,with language akin to a broad vs narrow scoop . And peaked vs rounded arch . Or pinched vs flat … Another convenience I found especially handy was to only use half templates for the cross arches, this allows for a certain freedom to adjust things as work progress's .
  21. A flat tire is only flat on one side .
  22. Sure … that’s true … some very cool clamps survive , and a few other fun bits as well …it’s also very unlikely that we know where they all are ..could be door stops and garden markers for all we know However the point still stands, iron was extremely expensive common items were commonly reforged into other items ,and the simple fact that we can’t hold his today doesn’t mean he didn’t have them , anymore than not holding whatever jigs for making exactly scrolls he might or might not have had , certainly the technology for bending irons has been around for a long time , yet the jog , for accurate duplication of wood worked scrolls has no known 17th century counter part , there are examples of jig device for stone sculpture of human forms so the thought can’t be simply ruled out … … In Addition wrought iron can not be dated the same as tree rings , if the material is wrought iron any bending iron could be a hundred … or a thousand yrs old and we would not know . Fwiw the absolute best cc ribs I found a quick steaming and roughly shaped rib section applied quickly to a inside counter form brought up to conform with a heavy leather strap on clamping levers till cool ,,.. the ribs come off exactly and because of the heat involved they stay in the same shape .
  23. If no surviving jig for making scroll work has been found ,,, and no bending irons … how do we apply the idea ? For what it’s worth, Iron back in the day was much more valuable relative to today, historically homes were often burnt down to collect the iron nails on the American frontier when the occupants moved , these nails could then be recycled into anything from horse shoes to anvils to guns and knives . In many areas entire homes and churches were built with no iron at all , being reserved for cutting tools that wore down … back in ww2 they melted down millions of anvils and post vice to make ship hulls and anchor chain … You ever made one ? I have , I use a torch heated bending iron , and “fixing “ a burn is very simpler and quick , moreover burns are very easy to avoid with even a very hot iron by simply wrapping the rib in a piece of linen cloth or hemp canvas. … Considering the old timers love of the aesthetic and long time commitment in making, as well as client expectations… to my way of thinking taking a few minutes to scrape or rasp off any burn would , both thin the rib and make things look nice and neat . years ago on MN there was a discussion of ribs and these mystery marks on the inside curves, I think they were cleaning up burn with a rasp and didn’t quite produce the same surface as the scraper so varnish filled the small scratches producing dark lines that only show when the varnish got worn thinner.
  24. Thanks . Nice drawing. the areas to the outside of the red line are still synclastic, as is the interior . An anticlastic curve would be as in the heal of the neck and the volutes of the scroll. With a closer look it seems the only true anticlastic curve is on the edges by the outside corners.here are a few photos of anticlastic curves. I think especially in the top , it might seem as if the curve are AC but in reality they are synclastic curves that transition from convex to concave , my initial assumption was wrong ,
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