uncle duke

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    kaw valley

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  1. Probably understood how to make calipers and a carving cradle before the rest of them. Investigate a Ruggieri or an elder Guarneri to check for pin marks. Supposedly they were co-workers/classmates of Stradivari under Amati.
  2. I'd think it a cheap oil you are using Nick. The reason I say that and not really a reason, just a guess, is that I use boiled linseed oil from the can/hardware store and all I get while setting that on the heat is a slight smoke or steam - the temperature is enough to melt lead some but is well under 700 degrees F. or 371 C. This is just a reply about oil, not varnish making as a whole.
  3. I don't quite understand. Does the transcription imply stop the strings with three left hand fingers and pizzicato with the left pinky or figure out a bow hold for the right hand so one doesn't drop the bow? My way would be to hire a bow holder for the four or five measures of pizzicato so I wouldn't drop the bow and when done with that grab the bow from the hired help and continue arco.
  4. Why you suppose Prokofiev transcribes that for violin during oboe and flute soli? Why not just simple eight notes?
  5. Sure they can. Bringing in husband/boyfriend gives him a chance to pad his totals some along with a chance to rise above the daily dweeb status.
  6. Leaving out the far left and far right vertical lines the others can be thickness indicators. The lower corner, upper corner line and line 5 can use the same length screw while the lower bout and upper bout use a shorter length. After another view I notice line 2 and line 7 don't coincide with the absolute widest parts of the bouts. They're off a little bit. So the workman had the concept of carving an interior plate down pat relating to the depth of the pins. That is a lot easier than removing a plate and checking with calipers every so often - understandable. How was the plate supported during all of this wood removal on the inside plate? I understand the value of Stradivari's cradle or the Amati school cradle for doing such work. My way of plate support during inside carving is two padded lengths of wood running along the corners and outer bout areas clamped gingerly but securely - really primitive but works for me.
  7. when you run across a bunch of rusty files/rasps that may have some life left in them have your husband get out the car battery charger, a big bucket, two long pieces of rebar {electrodes} and venture forth carefully using the electrolysis method of cleaning - carefully. Do not get electrocuted.
  8. borrowing Mr. Kelly's pic................ Assuming the left, very small pin remnant is not from a bolt/screw clamping method and there is no pin mark under the fingerboard, the other three pin remnants can be made using screws with flattened points with thread diameters around 3/8". 1/2" wide is plausible too but seems overkill for clamping but taking into account the amount of years Stainer was making fiddles - possible. No need to venture forth this way of holding a plate down if one already possesses the plate holding cradle that most use for carving. Davide will have to really be convincing with another theory for me to have a change of mind. Save it for a rainy day Beard - happy holidays to all.
  9. I can't speak for you as a maker but the bellies of my work are quite a bit higher than the back plates. Assuming the marks are from a clamping system why run the screws deeper into the spruce when the extra turns just to leave marks inside a plates aren't needed. As for Stainer, it's a simple matter of " hey uncle duke, how do you like my leftover screw/bolt clamping remnants for all to see later down the road?" My reply to that is "pretty good Sir, that's better than what I do in regards to neatness. I still have my own boards, templates and such to prove my own theories but why?
  10. The far left and far right vertical lines are template? or pattern overall length. Drawn up for which reasons? Who knows. From left to right line 2 is widest lower bout, line 3 is lower corner area, line 4 is bridge location, line 5 is overall center/balance point, line 6 is narrowest c bout width, line 7 is upper corner area and line 8 is upper bout widest. imo, has nothing to do with the Stainer table Sir.
  11. i like darnton's "pontificating".
  12. Not until he/she knows the meaning of Tyrolean, Austrian and German.
  13. He/she has a problem of not understanding english sentences. Someone writes something and among the first words of the reply is "does this mean?", can I conclude?", etc. - all throughout. All one has to do is read the words, do what they say and don't interpret any other way. It is a discipline issue where as nobody has stepped up or cared to make the o.p. a better, smarter person - his day is coming though. Remember Duff, do what the words say and don't interpret any other way.
  14. o.k. - glued one c bout rib, let dry a bit and trim to corners of blocks. Then upper bout rib, let dry some and cut on the center line of neck block. Turn mold over and glue in the other c bout rib, let dry a bit and trim down. Since I chose a one piece lower bout rib I glued the other upper bout rib next, let dry a bit and trim down to corner point. A one piece continuous lower bout rib is fitted to one corner and tailblock, let dry a bit, remove mold from vice to turn other corner facing upwards, reheat last corner area of rib again and commence to fitting the entire rib to blocks and let dry for a while. Glue one corner and tailblock area of rib, let dry and refit and glue last corner. done.