NOTE: Look at a Sears or Montgomery Ward catalog from 100 years ago and you’ll find page after page of violins, priced from about $2 to around $80. In those days, the violin was the most popular form of musical entertainment, next to the piano. To meet the demand, a thriving industry developed in a remote area of eastern Germany on the Czech border, a region then known as Western Bohemia. The center of this industry was the town of Markneukirchen in the state of Saxony. Each year from the latter 19th century until 1914, about 200,000 stringed instruments (and far more bows) were shipped from there, although no one knows the exact number. That’s about seven million violins, violas, cellos, and basses from 1880 to 1914. Just an FYI for those of us that appreciate some history.
He mentioned in a video a while back that Caleb had come to him and said that his plan for the future would mean he ultimately leaves. I don’t think there’s a set date.
Jerry I just had to tell you that "Dirt Farmer" is your song writing at it's best. I close my eyes and just feel the dirt running through my fingers. I also love the vocal. I feel what you are trying to express and maybe with a tear trying to sneak out of my eyes. One of your top vocals. Thank You...
I hope AND pray you make years and years of videos in the future! I will need something to watch in my old age! Gotta lot of years to go before I get old! Caleb is going to carry your torch well! This fiddle shore is grand! You are true.y a master of your craft, Jerry! Love from NW Colorado. Thanxz
thanks for the inspiration.. i just glued a neck on this beginners violin and i was wondering how to conform the feet of the bridge to the top.. well you answered that question.. i glued the neck on but it moved so i had to take back off and do it over.. well i am learning...
Not really. The instrument is the same, the strings are the same, the bow is the same, the tuning is the same, possibly, even the player is the same. It only depends on the kind of music you want to play at any given moment.
Have you tried clear nail varnish for filling gaps and voids in finish? It is basically nitrocellulose but is quite thick and is good for filling or levelling to existing finish. It scrapes well too with a single edged razor with the edge burnished over much as you do with your other scrapers.
Hello Jerry I was wondering why you do not use a liquid chemical stripper on some of your projects to take the finish off when you need to. We used to use such on hardwood floors and I was wondering if that would be a problem on Guitar surfaces in your opinion.
@@Daniel_cheems I was thinking of doing something like that but the pretty green ones from stewmac look pretty nice and probably are just the right tension. I'm gonna try those.
The black rubber band Jerry uses is an auto tire inner tube. It is cut following the circumference of the tube. I have found using a set up like a leather lace cutter can work well. It's a little tedious but it works. You end up with a Very long strip you can cut to shorter pieces, if desired.
Enjoyed the series Mr Jerry. Thank Mrs Emory for stepping up and giving you a hand she's doing a good job putting out the videos. Love hearing her sing her songs during the mix. Just hate when they get cut off short of finishing 😒 lol. Quick question why not just take the fiddle bridge to the sander to knock the chunky meat off the thickness instead of using fingerplane, it wouldn't change the sound by doing it that way would it?
The sander, no matter how you hold the bridge (tape on fingers or whatever), can grab the piece and throw it across the room, leaving your fingers on the sander. Ouch! 😱 Also, trying to keep the angle and thickness correct would be very difficult, as the sander cuts Very quickly. All of this is Much more controllable, with the finger plane.
@@zapa1pnt Judging from Jerry's other comments, I wonder too if it's a matter of the danger of those little ornamental scrolls getting knocked off too easily. They can get caught and knocked off by the finger plane too, but the sander action would be even more vigorous. And again, that's right, how would one hold the bridge. Something like double sided taping it to a backing block would be required. With patience, one might also be able to rub it on the face of a sanding block, but that wouldn't be as efficient.
The violin will lie in a case between uses, most likely, with that damaged area on the down side. During play, the left hand covers it unless the person is playing on a well lit stage of some height, maybe? I actually consider damage to my guitars as scars of valor. How many beautiful guitars sit in museums, too valuable to be played again? I play my pawnshop rescued guitars quite often. Attention to detail has many facets, IMO.
Maybe the cracks appeared because you didn't remove the chain rest and the pressure was not apply even and the distortion of the chin rest applying more pressure in one area this form the violin where now you have a crack for every action there's a reaction
You sure are condescending for a person with no first hand experience. Jerry Rosa has never been a "cabinet maker" (not that that should be an insult) he has built instruments for the last 40 years. He didn't pick this up a month ago, like some opinionated people who run mediocre art channels on RU-vid.
@@jukeboxj thats fine and dandy until he takes on someones pre war marten or gibson and no longer has jerry to fix it you dont learn this craft in six months or a year i am a auto tech for thirty years take your car to a kid who has only done it for a year bet you dont
@@matthewjones5450 I'm pretty sure that was either a joke about him leaving or we'll know more soon. BUT if you think a guy is too much of a babyface for your pre-war Martin, well then give him your import Epiphone for a quick setup on the cheap and seek out the grey haired guy for your vintage valuable stuff. Believe me I know guys with supposedly decades of experience that screw up but just believe they're too good to make mistakes and learn from them.
White shop glue (TiteBond) on a violin, yikes! Ugh.. David Bromberg, violin maker, collector, multi instrumentalist, sessions guitarist, and renowned professional multi-genre recorded musician says: shop glue on any stringed instrument deadens the sound (only okay in rare single point repairs). He notes guitars of his and other owners always sound better if taken apart, cleaned up, and reglued with hide glue. He says shop glue insulates wood to wood contact, he says hide glue affords genuine wood to wood contact after setting up. He claims old Martins sounded better, until the company moved away from hide glue and to TiteBond crap.
Jerry said many times on this channel about his preference for Titebond over hide glue. Also he doesn't hide that he's a "get the fiddle back to playing and don't charge for unnecessary hours" type of guy and not the "I'll used methods supposedly used centuries ago and charge you more than the violin is worth" type.
The fallacy is repeating things like "well that guy swears that..." if you don't have any personal experience, ie. as a builder, or as a player blind testing some instruments where the difference in construction is the glue only. I would've maybe have a tendency to repeat these claims also, but there's a few videos on this channel where Jerry plays guitars that he's just finished making (using TiteBond) and the sound definitely seems to have the "wow" factor, and that is over many vintage guitars that were also repaired and then played on this same channel using same gear to record.
