uncle duke

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  1. While watching a short video of a La Venezia model the first thing I noticed was the sound is similar to a classical guitar. Then I thought that's steel string and not nylon, hmm. Differences are a 14th fret neck/body join vs a 12th fret neck/body join. I've tried in the past running scales on both types of guitars and I guess the jazz type just works better for some reason. Maybe it's the tone of the archtop that gives an advantage. I'd feel safer chunking jazz chords on a guitar where I felt the bridge wouldn't come undone because of a heavy right hand. Back in the day i
  2. I remember an saying from one of the old violinist of yesteryear - one day of not practicing I'll know, two days of not practicing my friends will know and three days of not practicing everyone will know. Just jump into your studies somewhere and find something that needs work and start there. If it only last five minutes, oh well. Otoh, it could lead to a three hour practice/playing session that day too.
  3. That may of been me saying the awakening bit, not Bruce Tai. Though one will need a cause afterwards one can get a copy of caprice no. 21 {20) 6th line and a good player who can play the music. Let him/her play whatever music they want for awhile, put the freshly played fiddle on a rack for testing and take note of what's happening. Next, have the player run through that section of the caprice ten or so times. Now retest. If it's not called awakening it's gotta be called something.
  4. I was wondering the same thing yesterday about your museum example. Did he trace around an existing plate in the shop or did he use a plan? Then I thought that is still pretty good for early 1980's regardless.
  5. 1. La Venezia of Benedetto sounds like what you'd want. 2. yes, more recurve work around the edges though. 3. no, seems the back is easier to graduate than the top. 4. It's all in the Benedetto manual - getting the mold right was the toughest thing to do though - be forewarned.
  6. Notice I mentioned some instruments, not all. Most of what I have reach a certain level of "tonal, timbreness- conglomeration/togetherness" in regards to components with in the build and do their best not to help reach further heights while being put to work. A few others are all for it - keep playing us, things will keep getting better and they do. Anyone could sound good on my good stuff, while the mediocre or worse would just be handed back politely, imo.
  7. Why do some instruments, weather they be a fiddle or classical guitar, seem to be much more alive after let's say 50 min. of playing, for example? I'm trying to put the phenomena meaning towards a guitar but I really can't say what makes them take off and go after a while of playing either. It's gotta be called something and whatever it is going to be called is a great thing to be around - much better than just thuddy, boring sounding wood, whichever instrument it may be.
  8. What does your violin making book say to use for cutting wood?
  9. I'd say that though. It appears to me that he has a lot more experience with quite a few of the golden oldies.
  10. When you finally turn into an old man and start getting symptoms of fiddle playing burnout find something like I have done repertoire wise for making little more than mere noise while at the same time making you feel that you still got it technique wise - Pagannini 13 {8} and the few rondo examples from De Beriot - that all I need these days. I have given up the notion of learning the Mendelssohn in this lifetime.
  11. Show a winter grain line per square inch example so that you can get an opinion. My first thought is that it may be a weak wood or not strong enough.
  12. Did you read the chapter about how gut strings were made yet? You probably already know this but Chanot, the violin maker Heron-Allen learned with, has a grandson who shows up here on the forum every blue moon or so, or he used to show up.
  13. I'd bet newb going to punt on this one for the time being - hope i'm proven wrong.
  14. Your guess was as good as any of the rest, no disrespect intended. With the atomization set right using a spray gun one could get that type of o.p.'s finish using gloss oil varnish from sherwin williams. I mentioned spray as a comparison to the semi-gloss brushing with canned oil that I used on my first vso's - sheens are similar but I do see where brushing was done by myself vs smooth on the one here. Could a violin finisher/factory afford a large amount of oil from a paint store? I wouldn't know.