Christopher Jacoby

Members
  • Content Count

    1994
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About Christopher Jacoby

  • Rank
    THE VIOLA CAME FIRST
  • Birthday 08/28/1981

Contact Methods

  • Website URL
    www.omopod.com
  • ICQ
    INSTAGRAM @jacobyfineviolins

Profile Information

  • Gender
    Male
  • Location
    Takoma Park, MD
  • Interests
    Violin Making, Tool enthusiam, Open-minded discussion, and the mechanics of sound.

Recent Profile Visitors

12603 profile views
  1. Reinhardt Zack at Traditional Tonewoods is also excellent. As for blocks, going wider and stronger for the upper block is good for sound and projection, IME, and the lower block can be tinier.
  2. Those are very reasonable prices for a fiddle, even if it needs a full setup afterward. Genrally, a decent beginner violin should run you in the ballpark of 800-1200 bucks
  3. hehehe. I'll be around in November!
  4. Phillip, I love these posts you’ve been making. Jay has made nothing but good wake behind him, and I know the market appreciates him almost as much as you do ❤️
  5. /hi bk! A 1/4 or 1/2 violin would be a boon to any school program. Those fractions don't accurately represent the adjusted dimensions from 4/4, of course. You can get a set of standardized measurements for partial size violins online or from folks here. I would say to broaden your model some across the C bout and lower bout, and to put an untapered, brutish bassbar in to stiffen the top more. Big P Prier had me build a 1/2 fiddle for my fractional at school. It was as close as I've come to quitting...
  6. Oof, Jeffrey, I had a weekend from my nightmares with a pre-WWII Pressenda another shop sprayed a glow coat of shellac over. It broadened my skillset, and grayed all my hair....
  7. jules, you need to look for a material-added polish to french polish over varnish like that. myrrh in spirit, or a high-benzoin content polish applied as an added layer, not as a wet rag mixing your base layers around. Jim Banicke passed a 50/50 shellac/benzoin with a few drops of eucalyptus oil added recipe to a couple of my employees at Potter's. It can add a shiny polish layer over just about anything, but needs some practice-- it requires a drop of oil on the rag almost every time, but will turn cloudy after a week if this need is overdone. but then, do you want to be using a varnish that dulls when someone tries to polish it in 200 years?
  8. i would say that occam's razor should rule, instead of your good=complicated, and usually does. The less you refine, obsess, and overthink, the better your material will be--- at least if what we are after is finishes that act like, look like, and wear like the finishes of the past we admire.
  9. I like the look of that, Jim! Jules, what do you use to get the poop n pee bubblin to get to saltpetre?
  10. Dont restart. raise the overstand at the neck a mm or 2 so the bow can clear the ribs and carry on.
  11. Copper, aye! Silver goes black...
  12. I have a recurrent urge to purfle an instrument with sterling silver for the blacks. In a few decades, or less, the bling will tarnish to a lovely matte black, and will thrill the absolute niptips off the luthier that gives the instrument a polish...
  13. jedidiah-- I have never tooled up for a router and jig, and i've put a few dozen CF bars into necks. I mark out the channel, drill the length with a depth-stopped bit in a hand-drill, slice the sides with my cello bridge knife, and excavate with a chisel the same width of the channel and a light mallet. /only takes me about fifteen minutes for a cello neck after a bunch of them. I usually have the neck clamped into my patternmaker's vise throughout the process.