Christopher Jacoby

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About Christopher Jacoby

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  • Birthday 08/28/1981

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    INSTAGRAM @jacobyfineviolins

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

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  1. Copper, aye! Silver goes black...
  2. 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...
  3. 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.
  4. hi Ed-- heard good things about your fiddles in the SVA competition, mate, congrats! The Alard is a little slimmer than a grand pattern, but don't worry about loss of tone. It's more a rite of passage for workmanship than anything! I have come back to it and fallen short many, many times
  5. I'm surprised by how one sided this is. Sure, the GREAT old Cremonese violins are not being surpassed, at least not with any regularity. But, We copy dimensions for a reason. That reason is that a spooky amount of a good violin's voice, timbre, and abilities are held in its outline, air volume, bout to bout size, etc. I think the predominant amount of instruments emulating particular old models prove this. I have played great modern Strad models that are difficult to play in the same Italian-sports-car way that great Stradivari violins are. And anyone who is strictly copying, or worrying about copying strict thicknesses as a way to achieve the sound of a particluar violin better have the same sticks of wood lying around. So my answer is YES. When I make the Peter of Venice violin I make, it has a similar mutable . character to the color and characteristics of sound that the original i traced and cast did. When I make the Rogeri violin I love from the old Strad poster, I clean the effholes up a bit, because Rogeri was drunk the day he carved the originals, it looks like, and I change the arching some, and yet the models of mine have the same timbre and ease of overtone cushion I have noticed on the three or four nice Rogeris I've played. Why? The lower bout is quite wide, and the C bout is tall in a certain way-- my conjecture. But we are copying the model for good reason. Why does everyone go right for the enrequited mystique of the world's most famous fiddles? to the OP-- the answer is YES.
  6. i have regretted every time I've decided to take dictated special instructions. no one is happy in the end...
  7. i would try..... dark, dry charcoal but watercolor is usually what i associate with that dusty dark gray. i often use india ink or graphite.
  8. episode 2 coming the 20th! Visit or wherever you get your podcasts! fae41918-fae2-4bb5-8915-0faa85824d1d.mp4
  9. that is such a beautiful violin. sam rocks.
  10. here- we aren't disagreeing! what makes the sound? a non-static, deformable structure, warping and deforming in a way which uses the concave and convex parts of the system as bellows for sound waves...