• Content count

  • Joined

  • Last visited

About JacksonMaberry

  • Rank
  • Birthday 04/26/89

Profile Information

  • Gender
  • Interests
    Violins, early keyboards, conducting, hiking, wine, spirits, cooking

Recent Profile Visitors

1785 profile views
  1. Tax proposals

    Yes we really should be better about avoiding the political. Too many of our most prominent users can't avoid becoming defensive.
  2. JacksonMaberry's Bench

    The arch is now well blended on the back and getting there on the belly. As I worked down a bit some of the purfling miters looked better than they had on the surface, which was very encouraging! On the other end of the spectrum, I managed to saw the button tab off my back for #2. No time like the present to learn how to do a button graft, eh?
  3. That's not unreasonable, but I think it's a mistake to consider studying the proportional relationships present on surviving Strads "directly copying to wood". What I'm suggesting is that you discover for yourself what those relationships are, how they manifest, and how the execution varies across as broad a sample as you wish to approach. I think that will tell you more about what Stradivari did than knowing the length of the Cremonese punta circa 1689.
  4. If you have access to good images of actual violins, you have enough information for f-hole positioning.
  5. JacksonMaberry's Bench

    Thanks Jim! I've finally got the purfling in, so we'll see as I carve the channel how invisible it remains... I've also started a second violin, on a copy I've made of the PG form. On that one the boards are flat and prepped for arching, and the garland is just completed as of today. Shots of the purfled plates on #1, with the corner of which I am most proud. The others are certainly not any better... It's tough stuff, and I hope I can take the lessons learned here to #2 when I purfle it, hopefully next week.
  6. If you're responding to my post, I hadn't meant to connect those thoughts and have edited it for clarity.
  7. That's such a big brick it might have come off the Pyramids! Also, looks like whoever was running the pantograph the day that rolled off the line forgot the switch the back pattern in after the machine finished the belly.
  8. violin linings

    I got to thinking about Paulownia for the end blocks. For the tail block, you could bush it before construction, but the weight of the Paulownia and boxwood bushing probably adds up to Willow, hah! Tomorrow I'll test my other idea, which is to take some water thin cyanoacrylate and saturate the endpin hole and see how much weight that adds to a test block, as well as how helpful it is. For the neck block, after finalizing the neck mortise you could set in a maple reinforcing bar (say 4x4, as long as the block is wide) along the very top edge of the mortise, where it would help to diffuse the pressure of the neck as pulled forward by string tension across the full width of the block. But that sounds like a pretty stupid use of time and effort for a couple of grams shaved. Forgive my foray into the theoretical! I'm finished now.
  9. violin linings

    Yes, and this is key - it's crushing strength is about 3/4 that of Willow. Better to use something more conventional for the upper and lower, Paulownia for everything else (if you want). Again I think block and lining choice is, within reason, not very important overall.
  10. violin linings

    For what it's worth, Paulownia (called Kiri in Japan) is prized as a tonewood for a variety of east asian lutes and zithers. Edit - in my admittedly limited experience (two violins so far) Paulownia ticks all your boxes - it's light, elastic, strong, and soft. It cuts well, bends well, glues well, etc. If you want I'll send you some to play with.
  11. violin linings

    Possibly, though I'm not much of a scientist (to my chagrin). Paulownia is weird stuff. Yes it's light, but it's really strong and pretty stiff. Get some and play around with it, it's cheap.
  12. Saving the mold

    A very slight chamfer all around the form edges seems to help when the time comes to wiggle the garland free.
  13. violin linings

    Agreed. And it doesn't get much lower than Paulownia.
  14. One Very Loud Note (A5)

    Just loud, not raspy? Seems like it could be a wolf. Try chasing it around with some blu-tack.
  15. violin linings

    I was of the impression it was chosen for electric guitars also because it is light, but I could be wrong. It's cool stuff - quite resilient for such a light wood. The slips I prepare for linings sort of 'jingle' when I drop them onto the bench, for what it's worth. I agree that the blocks and linings are probably not a big area of concert acoustically as long as they aren't something very heavy that could dampen excessively.