uncle duke

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  1. Age of fiddle is before 1922. I see holster case marks/scratches with no "Germany" or "Made in Germany" stamping at the chinrest rib location. Though I can't see the label I'll venture to "guess" that yours is from the 1872 - early 1900"s time period. I don't have the info. as to when an instrument needed to be stamped for shipment to the states, assuming you're from here in the first place. Is yours earlier than 1872? Anything is possible, I guess.
  2. Surely you can't blame the rust pitting on sandpaper. Sometimes I do use the dowel/sandpaper on the inside but nothing coarser than 400 gr. Sometimes I feel the inside needs the extra work with paper but rarely does that make any difference when it's time to go back and work the wood. Better to have it and not need it than to need it and not have it , so I do.
  3. 96.25% is what is needed to scale to 7/8 from 4/4.
  4. One may be able to control sound quality and possibly be able to predict sound quality over time by keeping the following in mind while working wood. These are the words of one of the residing fiddle forgers here at Maestronet. .......for more power and less complexity take away some of the curvature and make the center more of a flattish plateau - for a sweeter, more complex tone with less power take the recurve further into the plate [long archwise] and add a more curved profile from the trough to the peak. Doing so adds complexity to tone at the expense of power. All I've found out with using the above so far is that I get a more nicer looking outer plate arching profile going the sweeter/complex route. Makes me slow down a little bit too while working wood. I haven't noticed any power or complexity issues though as compared to using, for example, the Murtov 6th's templates, which could be called the median between a flattish plateau made fiddle and the more condensed arching scheme for less power/ more beauty.
  5. uncle duke

    Violin id

    Just a guess - Mid-late French made from one of the Thouvenells. Remember, I said a guess.
  6. I feel and understand the aura of violin making in your words but what is one to do if V.A. administered Colchicine, Tramadol and Allopurinol just doesn't seem to make things better for the hands?
  7. 1. My opinion is that he started out alone but had the help of a good violin maker some time later. He could of used Heron-Allen's book. The ff holes remind me of the Da Salo patterns a little. Definately not the Sainton ff hole pattern. In photo #1 I can see where purfling was removed from the 6 o'clock position upwards to the root/belly join. The varnish touch up attempt is what makes me think that. Photo #2 if you look closely one can see a shim underneath the fingerboard. I don't believe a first class maker would allow that to leave the shop and that may go for a second class maker too. The small button is amatuerish. Weather or not this was a neck reset sometime after the build was finished or just made that way originally is hard to say. Photo #3 the back plate. I pretty much had my purfling grooves in maple figured out by build #4, maybe earlier. I see too many voids/mistakes with his fitting of the purfling to be acceptable to a first class teacher. This is where Nicolson may of been using Heron-Allens book on his own. The book more or less says these type of purfling mishaps will happen. Photo #4 This maker may of made his own varnish. There's always the chance someone else did some varnish work too. Now, I'm just opinionating here - it's hard to say. Maybe the guy was a painter by trade? That's pretty good results for being on his own which brings up photo #5. Photo #5 I can tell you by my own experience that those chamfers around the scroll and pegbox are a difficult thing to do if one chooses to make a fiddle with no professional instruction. His are pretty good - he had to of had help with that or someone else did that work in a later time period. Just my opinion again Bop. The most important issue here with your violin is that you love it's sound. That's what is important to me also. I'm just a third/fourth class fiddle maker like Ken and Nick even though Nick is working his way to second class handily.
  8. I made a hand full of 7/8th size once. The one thing I wish I would of done is to use 33mm or higher ribs for more volume and to rid the grown up 3/4 size sound. Most or all were well under 32mm high. I simply wasn't thinking ahead. Something else that can help for more volume is to use heavier sg belly wood and graduate the outer areas to what seems to be paper thin and use lower outer plate edge heights. Remove the mass - you won't need it because of the smaller box size. I used 47 and 48 sg wood simply because that is all I had on hand. I don't care for the 7/8th size sound. With a few rightly, justified adjustments during the making process these can rival bigger 4/4 instruments volume wise imo.
  9. I use a 1733 outer contour drawn up by "Wolbungskurven der Joseph Guarnerius 1733 Tafel" that had that type of area you describe. During that making session, after transfering exacting contour lines to wood for drill bit drilling on a drill press for accurate reproduction, I thought nothing about anything being possibly wrong by doing so. That is until it was time to remove the dimples caused by the drill bit. A lot of stock removal as compared to removing wood from regular shaped cross arches. When finished the area has the appearance of the section Don posted showing the distortion. An experienced eye could spot this area if looked for but I don't believe anyone else would see any difference. I imperceptibly notice it after a few moments of looking. While working that certain belly section back then I was thinking to myself man, what's this man [DG] thinking or doing. One thought was making a fiddle in haste - hurry up and get done assuming that was the intention in the first place. Long story short that instrument remains my favorite to play when I'm in the violin playing zone on a regular basis. I just don't really have the answer to the why It's my favorite. The next fiddle made by me did not have the distorted area built in. While it's bridge and lower corner arches conform to the norm as compared to the 1733 copy before it, it is a different sound. To be fair there are probably other things I changed the second time around with that plan, hence the differences. I'm only on fiddle build # 13 or so. Those two DG's were builds 9 or 10 or close to that so you guys have an idea where I'm at violin making wise.
  10. One thing that comes to mind is that during the early growing season a late refreeze comes through the area and freezes water that trying to make it's way upwards from the lower system of the tree. Or a really, really early fall freeze trapping water on it's way downwards. After looking at a section of wrc I have here I was going to mention that these marks were just mineral streaking caused by the dirt but this maple does look different than the cedar hence my "I really don't know either" reply.
  11. Where's the proof Reguz?
  12. It's been a while and if memory serves me right I've seen "al posato". I just can't remember which instrument, music or clef.
  13. Yes, that sounds about right. Some time ago I inquired about proper soundpost setting in a violin. After a few days of waiting for Mr. Violin to reply back to me I received proper instruction - there's more to it than I thought. What works better for me these days is to get the post length and angles right, install post where it won't fall down and walk away for about 35-40 minutes. Then come back and carefully move soundpost ever so slightly for more tension and walk away again for maybe an hour. Come back a third and possibly a fourth time and do the same tension adjustment again with the differences here being more time in between adjustments, like three or four hours or even going into the next day. These violin plates can do alot of moving during this time period, more so if the more pronounced inner slopes of some of these so called exact copy graduation and arching schemes are followed. Now cut your bridge feet and adjust height of the bridge. Get this far and you may find that the bridge is too thick at the top now. Loosen string tension and redo the bridge some more. Do it all now so you don't have to spend more time later. Just for Doug, Nathan and Brad's piece of mind - when I mention these post movements lousyplayer, after the waiting period, these movements I use will be in 1/2 mm movements at a time on average. Don't be scooting the post across the plates 3 or 4 mm at a time - if you have to move that far get there carefully or you will need a repair man/shop. No, I will not mention here who Mr. Violin is.
  14. My 1800's Petherick repair manual says the graft is of the French method. My novice eyes see somewhat of an Austrian influence for the corpus outline - doesn't mean a thing, just rambling.
  15. 1. I had the same problem going from trombone/euphonium bass clef to electric guitar treble clef. The egbdf transition from the gbdfa line placement firstly. It wasn't easy, it just takes some time. 2. If you are serious forget everything you know about bass clef sheet music and make the transition. I quit reading bass clef in 1985, learned what treble clef had to offer using a guitar and for some reason these days 2019 the understanding of bass clef note placement for trombone usage remains instilled in me. You'll find over time that the sheet music for violin and or guitar will allow you to play an ungodly number of notes in one sitting as compared to what's possible with a low brass instrument for an alike time period. Somewhat off topic - some have the belief that the trombone is the voice of God and the violin is the king of all instruments. Surely, there can only be one winner.