Craig Tucker

  • Content Count

  • Joined

  • Last visited

  • Days Won


About Craig Tucker

  • Rank
    x-treme bother
  • Birthday 07/22/1955

Profile Information

  • Gender
  • Location
    Roswell, NM
  • Interests
    Violin making, repair, rehairing.
    Painting, drawing, the arts.

Recent Profile Visitors

20127 profile views
  1. Oh well, and so goes life. Hah! - been there, done that. We get there, we try, and we move on down the road.
  2. I couldn't have put it any more succinctly than this. (above) Very good Rue!
  3. Some evaluations cannot be more objective than the spokesman is, regarding their opinions about sound preference. No two people ever "hear" exactly the same thing, just as no two different people 'want' or 'like' exactly the same thing. These differences are subjective, and will not ever give up their "secrets" because there is no real "best sound" (projection included) that will disclose a preference as if it were an incontrovertible fact. What players want, they get. (meaning they will acquire) And what audiences like, they like. (or dislike). An instrument (any
  4. Soundpost set-up IS very critical. Much like bridge fitting is. The proper tension of the post, and an exact fit of it, are essential. Both ends of the post must match the curvature of the inside of the back and belly plates where they make contact - rather perfectly, with the post in the correct position (vertically) and location. Also, as I have mentioned, "tension" of the post is very important. Too tight, I believe, is the biggest - most common problem with sound posts on many new commercial violins. A newly finished (handmade) violin needs to be checked quite soo
  5. It's the only book EHA ever wrote on violin making. It is interesting, but only interesting for today's violin maker. I'd spend my hard won money, elsewhere ct
  6. Ahh, Evan My friend! Sorry, I've been out of touch for a while now. Not with any intention to skip out on my friends. But my bow making and my (every other day) dialysis schedule (not to mention my "demanding" wife and her rather odd pursuits!) have been taking up most of my attention as of late... I'm now in my (very early - you understand - ahem!) sixties and have slowed down quite a bit. But I'll never slow down to the point of ignoring my hard-won friends. Evan - you, as anyone here, can email me at - well, you've got the email address. A
  7. I have sent you message "off line". Please respond and let me know what to do My thanks! ct
  8. Addie - Extremely cool. You've got the mind of a true Renaissance Artist! ct
  9. So then - where to start? Well... I started by varnishing many violins "straight" - with new (and new looking) varnish. including simple shading, which is pretty well accepted as a regular form of "new" varnish. Without which (skill, that is) one cannot go beyond simple 'straight varnishing' into the even more skilled version of varnishing which includes faux aging, of any sort. Varnishing convincingly - period - is an acquired skill. Including, what to use for, or as, a varnish, and exactly what to use for, and as, a colorant. antiquing - with what? one might ask.
  10. That's sort of where (and why) you need to look at examples of what is already out there. Both real or actual old, and new or faux old. There is no better example of what age and wear look like - than actually studying real age and wear - either in person, or from very good photographs - and also, looking at what new 'age' and 'new or faux age and wear' look like. Oddly they can both be equally convincingly done. I know this because I've seen examples of both.
  11. Here's my take on the whole idea. Look at as many antiqued, and faux-antiqued instruments as you can. If you can tell the difference - then what is the difference; exactly? Antiquing isn't impossible, and when someone uses, or asks for an 'antiqued' instrument - well, they're simply asking for something with a particular "look". If they want an exact copy of a particular single very old instrument - then that's a far different story, where close copying is called for. Antiquing, ahh, I must admit to a great affinity for the process. Did I learn it from someone in particular?
  12. Yes, definitely! Merry Christmas to all who believe! (and I'm not talking about 'Santa' here) - have a great day - to those who don't From "Sunny" Roswell NM... Craig T
  13. Yes! Scramble things? ... hmmm... Scramble things... Scramble things... ,,, ,,, ,,, YEAH - THAT'S IT EXACTLY!
  14. ahhh, left-right confusion. I still have to stop, and think about which hand it is that I must use to write. I was born a leftie back when the school system did not allow anything but writing with the right hand.. Which, of course - I could and did manage. But I still recall how confusing that made things for a while. My dyslexia landed particularly hard when spelling. For example I still occasionally spell some simple words exactly wrong if I'm no being thoughtful... Words like "only" I spelled olny. How or why? - I give. To still want to make such simple mistakes - that
  15. Though, I would really like to know, how many makers/repairers - suffer from dyslexia... Yes I have had a really bizarre history of dealing with this condition, if that will help start the subject off. ?? (thanks ct)