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About Jluthier

  • Birthday 12/06/1953

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  • Gender
  • Location
    San Antonio
  • Interests
    Violin making, tone, varnish

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  1. 40 inches, or 102 cm
  2. Rusticgirl: the projector I bought was Vivimage explore 2 mini projector; about $140. We use it with an old Macbook. There is a learning curve to set it up, but I installed it and calibrated it over about 4 hours of time. The facebook group "projectors for sewing" is invaluable for getting started. And yes, my wife uses it almost daily and will never go back to paper patterns. Almost all sewing pattern makers now are converting their online files to be projector friendly. Good luck getting started!
  3. I had no idea of the variables that go into E strings. This discussion has a wealth of information. I took notes from it for my future reference. Thanks everyone!
  4. I couldn't resist reading this whole thread, especially when I saw 138 replies in just three days! Sadly, I am left just imaging what the OP's workmanship is like since the pics were removed. Nonetheless, I appreciate all your perspectives on violin training options and skill development.
  5. The OP provided photos of his work as requested. I would love to hear feedback from the experts on at least what you can see from the pics. To my amateur eye it looks pretty good, especially since the OP is working with minimal tools. Is that finish intentionally antiqued? It is a nice color.
  6. David: I don't think you need to change. In your videos, your tools are so sharp that it looks like you are cutting butter rather than wood.
  7. My limited experience with my own purfling joints is that I can always detect them on close inspection. I found Roger Hargrave's method so easy that I will use that from now on and avoid joints except in the corners. See the thread:
  8. I had to clear my driveway of snow.... in San Antonio. No snow blower, not even a teflon coated snow shovel..just an old rusted dirt shovel. Never planned on that.
  9. Good question, GerardM. There is an interesting theoretical paper on this question, see post "Paper: A Data-Driven Approach to Violin Making"
  10. Just a couple of thoughts from one who has had similar failures in the past: 1) The Bjorn site looks like they are open to questions about their product, so I would call them. If you do, let us know what they say. 2) Are you heating your glue in a glue pot up to the desired temp? I understand you should avoid overheating. 3) If you do use clamps, make sure you balance the pressure (see previous threads) and don't clamp TOO tight.
  11. Thank you, Sebastian for sharing your work with us. Televet: I think the reason there are so few responses is that the paper is highly technical. I have read it and confess I can get the general idea but I can't understand all of the methods. If I have the overall picture, the authors have used an artificial intelligence learning program to analyze and predict the vibration of the top of violins, sans bass bar, with respect to material characteristics, shape and thickness. They conclude that you can't reproduce a master instrument's sound with simple geometric copying because the wood may be different. They have not yet addressed arching variables or the inclusion of a bass bar. They hope to be able to use this method to direct design based on material characteristics. For me, mystery of violin sound quality remains; what if any are the most useful surrogate markers for competed instrument sound quality that a luthier can use along the way?
  12. One thing I admire about the Cremona luthiers is how they continued their craft to such an advanced age, and I admire all of you can who complete an instrument without ever plugging anything in. My own hands are slowly suffering from years of overuse here and there, so I will admit to employing power tools when it comes time for rough removal of wood. The oscillating multi-tool has promise for being a good rasp-like device, but I have found that the commercial velcro sanding pads disintegrate after only a short while, and, even if they stood up to rasping, would be useful for only the roughest of work. My solutions are pictured here. The larger sanding pads are modified by first epoxy gluing on a sheet of aluminum over the velcro surface, then using the spray contact cement to reversibly attach sanding paper to the aluminum sheet. For finer rasp work, such as the throat of the rough scroll I just cut out, I used an old saw blade that I bent into a curve and then directly wrapped #80 sandpaper around it with contact cement. Both of these configurations have held up well. I still sacrifice my hand joints for hand purfling, chiseling, scraping, etc.
  13. Thanks for the detailed explanation. It is fascinating to try and recreate what has been lost to history. --J
  14. That is a GREAT video, David! I love how you use the biologic analogies to explain the evolution of the violin. I understand what you mean about the pin use as well. I guess I already use the Cremona methods as an autodidact, but I trace my pattern from the ribs while they are still in the mold. Is there evidence that the early makers traced as you demonstrate in the video? Thanks so much for doing the research and sharing that with us. I look forward to more of your videos, and I am now a "subscriber" to your youtube channel.
  15. Very interesting,David. I looks to me like Strad used an inside mold, which is what many (most?) of us also do. I use the rib assembly still inside the mold to establish the outline of the top plate, then similarly for the back. I am trying to envision what it means to twist the sides and neck assembly around the pins to get a good alignment. I wonder if you would mind expanding on that, or if there is a description in print, point me in the right direction. Regards, Jay
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