Jim Bress

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About Jim Bress

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    : Maryland, USA

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  1. Catalin, I’d love to see a sample of your work or your impressions of the Cannone. I’m sure SWMBO will be happy to dictate for you.
  2. Thanks everyone for your input. A bit of overlap in the discussion so I picked a few quotes even though more than one contributor offered same or similar thoughts. Because I have respected makers that are Friends of mine that will not make any instrument without carbon fiber insert it makes me wonder whether I am falling short of best practices. However, Cello neck is my main concern. I also see titanium reinforcement bars for sale. I expect if they have tonal effects, the effects of the two materials would be different. May in a good way, maybe not. I do not know how often violin, viola, or celli necks warp. In other words, whether or not a problem actually exists. For cello root necks I will definitely pin the neck root. At this point I don't know if that practice will migrate to viola and violin making. As I get more comfortable with the procedure it's more likely that I will. One of my thoughts was to reinforce the fingerboard. If results are the same it could keep future restorers from cursing my name.
  3. As requested in the recent thread "Carbon Fiber Rods in Neck: Best Practices?" I saved my burning questions for a new thread after searching MN and GOOGLE including going to the dark side and reading guitar forums. From my readings, it appears that reinforcing the neck (e.g. with CF) is to create a more stable neck. Very little has been said on the affect of tone or playability. I know that really good makers are using CF reinforcements along the FB gluing surface. The stability reasons are all from guitar forums. My question is why. Stability? Increased sustain, volume, or other acoustic reasons? For stability, is neck warpage a typical problem for violins, violas, or celli? Or is it mitigating a potential problem if the instrument finds itself in a high humidity environment? Considering the lifespan of an instrument, it does seem prudent to prepare for the future. Based on the answers, I am thinking about a little experiment with different reinforcement material using my #1 as the guinea pig if there are potential tonal benefits. That's what first violins are for right? Thoughts anyone? Thanks, Jim
  4. It’s looking good. I like the bit longer corners than I’m used to seeing on GDG models.
  5. Looks great! Are you going to stick with the models scroll or some other Guarneri(ish) variant?
  6. I had a very nice top with a "shake" in it worse than yours. Even though I could saved half the plate as an orphan plate to be used sometime in the future, for me the entire billet is suspect. I will use it for sound post and bass bar stock. My two unqualified cents.
  7. Mike, I take it that you do not put a slight hollow along the length of the gluing surface of the fingerboard on the center-line?
  8. Nice! I really like the smallest knife at the top.
  9. What are your plans for it. It's almost like opening a geode, waiting to discover what's inside. -Jim
  10. Tax credits are/were available in MD for rain gardens. They get get lumped in with storm remediation ponds and reduce your impervious surface tax. It varied by county if it's still going on, but every nickle counts right.
  11. My woad and madder garden is off to a good start. If I can start some new plants from seed maybe we can trade?
  12. It’s white willow from Europe, not a weeping willow. I have some notes on graduation of willow that you’ve written. Do you graduate quarter sawn willow differently from flat sawn, or does it depend on how that piece of wood feels? Thanks, Jim
  13. I thought it said so on the website, but I just looked and couldn't find it. It's not on the bottle either. I also couldn't find any email correspondence with the the company which I would have done prior to making the purchase. I can only think that I must have used my old work computer to ask Alchemist mediums the oil to resin ratio, but I don't work there anymore so I can't verify. Now my answer is I don't know what the ratio is. Using it in the manner I do, a single bottle will last me a looong time.
  14. I mix it into a paste with selenite (gypsum). The varnish is absorbed by the gypsum. I then rub it on the entire instrument, then immediately rub it off with a white cloth until the cloth stays white.