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About JacksonMaberry

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  • Birthday 04/26/1989

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    Violins, early keyboards, conducting, hiking, wine, spirits, cooking

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  1. I just use maple for the whole thing now.
  2. Sort of. You can do a deep channel without excessively thinning the channel area from within when graduating. Some Bergonzis have this feature of deep channeling while maintaining thicknesses over 2mm in that area.
  3. I don't wanna speak out of turn, but to me, "full" means that the cross arch inflection point occurs closer to the edge than "not full".
  4. Sorry for the thread necromancy, but here goes. My shopmate, a bowmaker, has some sticks that have Lucchi readings on them from years ago when he borrowed a friend's machine. Using FFT software on my phone, I'm able to take readings of my own spruce and maple that fall into the ranges discussed in this thread. I take the length (in meters) multiplied by two, find the frequency on the FFT, and multiply the doubled length by the frequency to obtain C. However, I am not able to come close to the Lucchi numbers when I try the technique on his bow blanks. Dividing C by two gets me into the Lucchi range, but the margin of error is still quite wide. Two questions: what is the appropriate way to convert C to the Lucchi number? Is the shape of the bow blank (a stick with a large rectangle at one end for the head) somehow hampering my ability to get a good reading? Thanks! J
  5. Fat free cottage cheese, borax, and water are sufficient to make a successful casein glue.
  6. Spongy Engelmann from Chambers is probably very low density, possibly low stiffness. So I agree with Evan - arch a little higher, keep it fuller, and grad it thicker. Try about 4 and change in the center, thinner in the flanks, but don't do the Amati Smile in the channel- keep it flank thickness at the edges. Shame about the ridiculous comments from your symphony members about 'oh it'd make a lovely baroque violin'. Let's not forget all great classic cremonese violins, the ones that cost millions and are played by the best soloists, were born as baroque violins. The notion that a baroque violin must be warm and mellow with a lack of power is ignorant.
  7. Forgive me if I'm misremembering, but are you the person who described rubbing powdered rosin and linseed in with your fingertips? I agree that a small amount of linseed (a few drops mixed with some other ingredients) can make for a good ground, but that's as far as I'd go.
  8. The problems with just going hog wild with linseed oil on a white violin are well understood. Not saying it can't or shouldn't be a small components of a ground, but that is probably it
  9. No, it is certainly not. But it is a pleasurable vocation, and I'm rather fond of beans and rice anyway.
  10. Don presumably has a comfortable retirement after a long and distinguished career as an engineer, and therefore does not have to concern himself with making a living at violin making.
  11. I only accept krugerrands, Bitcoin, or bottle caps, man.
  12. Not since the God Emperor's tarrifs kicked in. USA tinfoil all the way!
  13. The French, in the person of F X Tourte and his successors, invented the "modern" bow. So in a sense, while certain minutiae of fabrication may differ, even German bows are just French bows. The best of the German (and English) bowmakers, like Nurnberger, were trained in France. So ultimately, its not terribly important. A good stick is a good stick.