uncle duke

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    kaw valley

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  1. If the consignor did file the UCC, thus becoming a secured creditor, would he/she have to be present on the first day of the hearing or would it be understood already by the state because the consignors UCC is on file already? Let's assume both parties live in the same state.
  2. Putting new wood there seems difficult at first but when it's time to shape the repair piece you'll see it's not bad at all when you actually see it conforming to the shape it's supposed to be.
  3. The shop should of mentioned to owed creditors that such and such's violins here under my roof are not the property of the shop. Unless that is not the case with consignments.
  4. We can wait. This is interesting. Oh, I forgot to say the password - pillock alert.
  5. I finally made a violin that has no wolfs after the first string up. Yeah for me. Is it possible for wolf tones to show up after a period of time or is it if they are not present at the beginning, they won't appear later?
  6. So far I like it. It's not at the top of my priority list in regards to making adjustments to a newly, just strung up yesterday instrument but I do notice the board doesn't give or acts like it's weak when playing past the overstand where there's nothing under it supporting it. Weather or not the dye coloring stays put remains yet to be seen.
  7. What brand of tuner does your friend use?
  8. This mere mortal still couldn't figure out whose way of neck finishing would be best. Interesting ideas. The easy way for me was to color the neck with mahogany/walnut and bloodwood wood chips soaked in alcohol to make a cheap stain. Let that set up a bit but not letting it dry, then rub out the coloring with an ammonia soaked rag to turn the stain into the darker shade of aged I thought would be o.k. Leave alone for a day or so. Then about a dozen coats of clear oil varnish were brushed on using a 5/0 or so sized camel hair brush. I just finished up with mirror glaze rubbing compound and will rub some Turtle wax compound here in a bit for the super slick feel..............or one big mess.
  9. 1. Not saying possible. I'm saying there was or there should of been. Yes, under the plate on the inside. 2. I understand. Realize I'm trying to say that there are two plates - the outer one with the four pins like shown above and an inner plate with holes and string slots only. I would hope that there would of been an inner plate originally. 3. If you must and do not complain to me if this fails good friend then set the plate where you want to glue it, lightly scribe around it and carefully remove the varnish. On classical guitars I use a chisel to remove finish down to bare wood working cross grain carefully, sealer and varnish/lacquer. I'm thinking with the arch of this violin maybe use a small razor blade carefully. I don't think a chisel would work cleanly. 4. If I had to do this some how the top would come off with ruining the outer banding and purfling. I'd even check for replacement material before doing so. Then investigate the use of a plaster cast for the belly so that I could actually put an inner reinforcement plate glued with some pressure. After that I would use some sort of mini Torres style fan bracing around the newly glued inner plate. One right down the middle going over the new plate almost touching the tailblock. Then two more at the least on the sides of the new inner plate, straight or heat bent braces? That's something to think about. What's needed is maximum strength with the least weight and material. The E string is notorious for doing destructive things thus me having to type all of this. That's the best I can do for you now. Anything else I think of I'll post it later. Be very, very careful sir.
  10. I realize yours is not a Chanot but you should remember and consider the above words before going back to pins.
  11. My opinion Jan - hopefully Michael N. or Stephen will show up and mention to you on how to go about strengthening the underneath side inside the belly. Bracing or a decent size patch of wood or both. I'm thinking the reason for the soundpost being put in front of the bridge originally is to keep the belly from collapsing. Instead of a pin and tailpiece set up like a regular violin allowing a sort of even pressured downforce I'm thinking the pins and bridge that you want to do now will actually start pulling up the belly at that location. Look at the two right plugged holes from before. I see what may be hairline cracks repaired. Look inside - that rough area around the filled pins was more than likely the bridge pad. That is a must have but if that doesn't provide the strength for the entire area then it may me like Martin said before - a poor design. You may need some sort of mandolin or archtop guitar bracing ideas, maybe even uke bracing ideas to avoid potential catastrophe.
  12. What will or can be the name of this school? I'm interested. Are the working habits French, Italian, English or Spanish? I don't mind joining up with the minority, if possible.
  13. If you see some of Don's plates where he contoured around the blocks I'd think that would be a safe way to go. The template I have for the slope around the tailblock looks like a shark fin. Like glue/centerline 13mm from block edge tapering to zero at the rib/block join. So using a pencil draw a sharks fin profile to follow when sloping. My neckblock appears to be 16mm x 52mm or so. The belly plate slope area also has a 4.1mm plate thickness at the block edge but shows no taper. Obviously put a taper there leaving some perimeter slope wood for strength. My plan says thickness at the bottom of perceived slope is 3.0 mm. Just make a strong slope I guess following the block contour. If I'm remembering rightly my slope thicknesses around the blocks were somewheres in the range of .125 to .140. - that's right above 3mm for thickness.
  14. The correct sound of an excellent violin is ............. when or while an excellent violin is being played causes other players with-in a twenty mile radius to put theirs away and shut the case so that they don't lose any of their supposed magical powers or timber to the excellent violin.
  15. Realizing I should let the sleeping dog lie but...........so what. So Reguz, what makes you think thinner increases volume? Another question. I noticed you use a 15mm for the high point of the belly. Would that be 15mm not including the edge thickness or would that be 15mm including the edges? I see a Maggini extra turn styled scroll. That makes me inquire about the back and belly - are you using Maggini plate thickness specs or not?