Jim Bress

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About Jim Bress

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    : Maryland, USA

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  1. Jim Bress

    Luiz Bellini

    You can see Tarisio sales here. https://tarisio.com/cozio-archive/price-history/?Maker_ID=54
  2. Jim Bress

    OMO, the Violin Making podcast

    Nice frank opening salvo. Well done Chris, Jerry, and Rozie! -Jim
  3. Jim Bress

    How to clean copper lapping

    A cautionary tale. I have a bow that originally had a tinsel wrap that needed to be replaced. It was replaced with silver wire during a re-hair. The silver wire changed the balance for the worse, IMO. I had the bow re-wrapped in silk which restored the original balance.
  4. Jim Bress

    Violin Making Schools

    Thanks Jeff and Joe.
  5. Jim Bress

    Violin Making Schools

    What does the position of Executive Director mean in terms of instruction and time with students? Would Antoine be the instructor, head instructor, or more of an administrative position overseeing the curriculum? Thanks, Jim
  6. Jim Bress

    "easy"-to-apply varnish?

    To cut down your options in half you could first decide whether you want to use a spirit (alcohol solvent) varnish or an oil varnish. A spirit varnish will take more application skill, IMO, and an oil varnish will require a UV box for curing the varnish. The POP filler/sealer is easier mixed in with your oil varnish (haven't tried with spirit varnish) to form a tooth paste like consistency, then rubbed on and excess wiped off. Instead of making my own POP I use this gypsum from Kremer. https://shop.kremerpigments.com/en/pigments/kremer-made-and-historic-pigments/4584/selenite-marienglas
  7. Jim Bress

    The importance of varnish

  8. Sometimes the rules lack a bit of common sense. I was trying to get a Tempel RW chin rest from the US distributor, but they were out of stock. The Canada Distributor had the Chin rest, but they're unable to ship RW to the US. It's silly because both distributors are getting the RW from Germany. Oh well, I bought a Plum chin rest instead. Hopefully I'll like the Plum wood and will start using more of it.
  9. Jim Bress

    Arpeggione Help!

    Rue, this may be the "guitar" you've been looking for.
  10. Jim Bress

    Instrument finishes...the missing link?

    Back to Rue's bench. Thin coats aren't necessarily bad, and you can more easily run into problems with thick coats. Maybe your slab is just drinking it in. If so, give a little more time to cure and it may be easier to build up a thicker layer. When it's as thick as you want (or slightly more) you can level the varnish. Then proceed to polish with increasing finer micro mesh. Unless your finish has a matting agent it should become clearer and shinier.
  11. Snakewood (Brosimum guianense) is not on the IUCN or CITES check lists. The common name "snakewood" will come up with plants on the CITES II list, but I do not believe these are what you are referring to. To save confusion always best to list the Latin name. https://www.iucnredlist.org/ http://checklist.cites.org/#/en
  12. Jim Bress

    Boxy, honky nasal sound.

    Thanks, I added the citation and your name (Posted by:) to my file.
  13. Jim Bress

    Boxy, honky nasal sound.

    People to agree? No way! Although I think it would be a useful tool for a luthier to understand the sound a client is trying to describe by verifying with the client if what they are trying to describe is close to any of the descriptions on the list. For example, when the client says they're looking for a more chocolaty sound...
  14. Jim Bress

    Power Sharpeners

    I like that. Cheers, Jim
  15. Jim Bress

    Boxy, honky nasal sound.

    I snatched this from one or more threads sometime in the past. Sorry, I don't have a link to the original post. Edit: Originally posted by Michael Darnton. Source: http://www.faqs.org/faqs/AudioFAQ/part2/ Describing sound Airy: Spacious. Open. Instruments sound like they are surrounded by a large reflective space full of air. Good reproduction of high-frequency reflections. High-frequency response extends to 15 or 20 kHz. Bassy: Emphasized low frequencies below about 200 Hz. Blanketed: Weak highs, as if a blanket were put over the speakers. Bloated: Excessive mid-bass around 250 Hz. Poorly damped low frequencies, low-frequency resonances. See tubby. Blurred: Poor transient response. Vague stereo imaging, not focused. Boomy: Excessive bass around 125 Hz. Poorly damped low frequencies or low-frequency resonances. Boxy: Having resonances as if the music were enclosed in a box. Sometimes an emphasis around 250 to 500 Hz. Breathy: Audible breath sounds in woodwinds and reeds such as flute or sax. Good response in the upper-mids or highs. Bright: High-frequency emphasis. Harmonics are strong relative to fundamentals. Chesty: The vocalist sounds like their chest is too big. A bump in the low-frequency response around 125 to 250 Hz. Clear: See Transparent. Colored: Having timbres that are not true to life. Non-flat response, peaks or dips. Crisp: Extended high-frequency response, especially with cymbals. Dark: Opposite of bright. Weak high frequencies. Delicate: High frequencies extending to 15 or 20 kHz without peaks. Depth: A sense of distance (near to far) of different instruments. Detailed: Easy to hear tiny details in the music; articulate. Adequate high-frequency response, sharp transient response. Dull: See dark. Edgy: Too much high frequencies. Trebly. Harmonics are too strong relative to the fundamentals. Distorted, having unwanted Harmonics that add an edge or raspiness. Fat: See Full and Warm. Or, spatially diffuse - a sound is panned to one channel, delayed, and then the delayed sound is panned to the other channel. Or, slightly distorted with analog tape distortion or tube distortion. Full: Strong fundamentals relative to Harmonics. Good low-frequency response, not necessarily extended, but with adequate level around 100 to 300 Hz. Male voices are full around 125 Hz; female voices and violins are full around 250 Hz; sax is full around 250 to 400 Hz. Opposite of thin. Gentle: Opposite of edgy. The Harmonics - highs and upper mids - are not exaggerated, or may even be weak. Grainy: The music sounds like it is segmented into little grains, rather than flowing in one continuous piece. Not liquid or fluid. Suffering from harmonic or I.M. distortion. Some early A/D converters sounded grainy, as do current ones of inferior design. Powdery is finer than grainy. Grungy: Lots of harmonic or I.M. distortion. Hard: Too much upper midrange, usually around 3 kHz. Or, good transient response, as if the sound is hitting you hard. Harsh: Too much upper midrange. Peaks in the frequency response between 2 and 6 kHz. Or, excessive phase shift in a digital recorder's lowpass filter. Honky: Like cupping your hands around your mouth. A bump in the response around 500 to 700 Hz. Mellow: Reduced high frequencies, not edgy. Muddy: Not clear. Weak Harmonics, smeared time response, I.M. distortion. Muffled: Sounds like it is covered with a blanket. Weak highs or weak upper mids. Nasal: Honky, a bump in the response around 600 Hz. Piercing: Strident, hard on the ears, screechy. Having sharp, narrow peaks in the response around 3 to 10 kHz. Presence: A sense that the instrument in present in the listening room. Synonyms are edge, punch, detail, closeness and clarity. Adequate or emphasized response around 5 kHz for most instruments, or around 2 to 5 kHz for kick drum and bass. Puffy: A bump in the response around 500 Hz. Punchy: Good reproduction of dynamics. Good transient response, with strong impact. Sometimes a bump around 5 kHz or 200 Hz. Rich: See Full. Also, having euphonic distortion made of even-order Harmonics. Round: High-frequency roll off or dip. Not edgy. Sibilant: "Essy" Exaggerated "s" and "sh" sounds in singing, caused by a rise in the response around 6 to 10 kHz. Sizzly: See Sibilant. Also, too much highs on cymbals. Smeared: Lacking detail. Poor transient response, too much leakage between microphones. Poorly focused images. Smooth: Easy on the ears, not harsh. Flat frequency response, especially in the midrange. Lack of peaks and dips in the response. Spacious: Conveying a sense of space, ambiance, or room around the instruments. Stereo reverb. Early reflections. Steely: Emphasized upper mids around 3 to 6 kHz. Peaky, nonflat high-frequency response. See Harsh, Edgy. Strident: See Harsh, Edgy. Sweet: Not strident or piercing. Delicate. Flat high-frequency response, low distortion. Lack of peaks in the response. Highs are extended to 15 or 20 kHz, but they are not bumped up. Often used when referring to cymbals, percussion, strings, and sibilant sounds. Telephone-like: See Tinny. Thin: Fundamentals are weak relative to Harmonics. Tight: Good low-frequency transient response and detail. Tinny: Narrowband, weak lows, peaky mids. The music sounds like it is coming through a telephone or tin can. Transparent: Easy to hear into the music, detailed, clear, not muddy. Wide flat frequency response, sharp time response, very low distortion and noise. Tubby: Having low-frequency resonances as if you're singing in a bathtub. See bloated. Veiled: Like a silk veil is over the speakers. Slight noise or distortion or slightly weak high frequencies. Not transparent. Warm: Good bass, adequate low frequencies, adequate fundamentals relative to Harmonics. Not thin. Also excessive bass or midbass. Also, pleasantly spacious, with adequate reverberation at low frequencies. Also see Rich, Round. Warm highs means sweet highs. Weighty: Good low-frequency response below about 50 Hz. Suggesting an object of great weight or power, like a diesel locomotive.