Jim Bress

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About Jim Bress

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    : Maryland, USA

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  1. That's part of what got me thinking about size. Strobel has the upper block at 120 mm wide, and Rivolta sells willow blocks at 110 mm wide. Clearly Rivolta has an idea of what a lot of makers are interested in.
  2. I was at a bowmakers home shop this weekend getting a re-hair. As we chatted during the rehair, I kept looking at his trash can full of pernambucco shavings. I instantly thought about tinctures and started chanting to myself "ask to take the trash on the way out...ask to take the trash on the way out...ask to take the trash on the way out...". Then he was finished and as soon as my bow was in hand I forgot all about the shavings. Big dummy! Maybe next time.
  3. I gave a small bag of the "Russian" stuff to Don L. I don't know if he ever experimented with it.
  4. Hi Jacob, Exactly my point. I have a natural tendency to over-build things. For a furniture piece, so what. For an instrument, I gather, too much structural support is a negative in that it just makes the instrument heavier, and may also negatively affect performance and playability (violin/viola) . Therefore, I'm looking for what experienced makers have found to be an appropriate size for blocks given the model I plan on using. All I have is an older Strad poster that does not have ct scans found in newer posters. Thanks, Jim
  5. As I'm approaching my first cello build I'm gathering materials and information. I'm using the Strad poster for the Pietro Giacomo Rogeri 1717 cello that has a lot of similarities to Filius Andreae celli, and has nearly the same LOB and bout widths to the GDG Messeas cello discussed in another thread. In preparation for designing my mould, I need to decide what the block dimensions are. For folks that make Guarneri or Rogeri celli models, what end block dimensions do you use. Probably should include the other Ruggeri spellings but then I'm not sure how close the relationship and style of making is. I think the corner blocks will be obvious. I do have the Strobel Cello book, but thought there might be more specific information out there. Thanks, Jim
  6. Agree with everything above. The key words are proper setup. Which unfortunately puts you up closer to the numbers Chris Jacoby quoted. Just a wild thought. A lot of amateur makers have a stable of "not ready for prime-time" violins that are just hanging around (literally). I would think folks would be happy to just find these fiddles a home where they would be played. Of course, there's still the question of how good the set-up is. However, if adopted out, they would still be worth it if they played and sounded good. -Jim
  7. Looks nice Ken. The 80/20 rule seems to be in force with violin making...80% of the work takes 20% of the time, and the last 20% takes 80% of the time. I’m still not happy with my purfling skills. It will be a while before I punish myself with these Brescian patterns. Then there’s the actual finishing (varnish). I really like this part, which I think is a life long learning curve. I need to add more color (cooked resin) to my varnish before the weather turns. -Jim
  8. It’s worth going to Ann Arbor for the beer. The people aren’t bad either.
  9. The ash wood looks really nice. Will this have a single or double mast?
  10. Thanks! Don't tell my son I did something modern. He won't believe you. Thanks, I'm partial to one-piece backs. I have a few more before they run out and I start into my two-piece stock. However, I'm replacing all the backs I use with one-piece backs.
  11. I think the best you can do is say whether it is not pernambuco by looking at the grain structure, end grain, and if the density falls within the normal range. If the wood morphology falls within the normal range of pernambuco then it might very well be pernambuco, or a number of other similar species.
  12. Tightness may be a more appropriate term, unless I misunderstand you. For me it was quite the puzzle, but was tickling some part of my brain so I kept thinking about it and occasionally whacked a butter knife (handle out) at different lengths from a countertop. Then things kind of clicked during the out-of-vertical sound post thread (whatever the actual thread name) how east-west movement of the post can affect plate stiffness. From there I began thinking of cross arches and edge fluting affects of plate stiffness. Sometimes providing the right question produces more fruit than having the answers given.
  13. I believe "Boinking a ruler on your table is all you need to know" is a quote (probably paraphrased) by Rene Morel, and actually says a lot taken in context.