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Christopher Jacoby

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About Christopher Jacoby

Contact Methods

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

Profile Information

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

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  1. 10's a bit high, but not outrageous. Depending on model, I'm usually 2x8 or so.
  2. You can likely wet that and clamp it out, or fill it, aye. Not a big deal.
  3. Agreed! I'd rather charge enough for a bridge and cut them something that doesn't warp out in a few years of weather changes. Thin and flexible is not the best way to loud...
  4. I'd love to keep 6 mm there for most bridges. It's not always possible because of strange blank shapes, and it's almost never possible with an Aubert.
  5. As thick as you can leave it...
  6. To the OP-- it's not so strange. I saw a Gobetti scroll on a Montagnana violin recently. It, and these, bear similarities in the length and flow of the pegbox. Photos won't let you see how the tools were used, either. Look up Ben Hebbert's wordpress and read about expertise and identification-- he says you have to watch for the bones, not the shapes laid over them. Listen to the Omo podcast episodes just arced on the same subject. If you saw scrolls of mine side by side photographed online you'd likely be right when you chose "chaos" as the answer...
  7. Jacob, why are you always such a jerk? Go have a drink and kick some stray animals or something...
  8. Yeah. But outline, effhole placement, general arching ON that outline… even with wildly different wood sometimes, the same model will make an instrument with characteristics a maker can become known for. I have made certain models for sale in certain markets for years now. The head of sales at a shop likes this type of sound? He gets the model that gives it to him.
  9. I guess you have to be experienced enough to do well with what parameters are being copied, but there is a Reason we find models we like and stick with them over years. If the model didn’t have anything to do with the sound we would all keep making the jackass forays into cubism and outlandish outlines we try in the first couple years…
  10. I’m surprised by the first responses! Of course the model makes a difference to the sound. And if you “copy” a model you will indeed get a similar sound to the original instrument. Air volume and the shape of the rib structure are shockingly able to convey some of the same character and drive to violins on the same model.
  11. Your criteria for winning are like one-legged ducks. You keep swimming in small circles going SEE? SEE? IT FLOATS
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