uncle duke

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  1. uncle duke

    Violin ID

    I see Italian too. Upper shoulders and top view pegbox, possibly outer contour of scroll and box side profile? Not sure what to think of the ff hole notching and the corner work. Then others saying late 1800's - I'm really not sure now. Maybe let's get the time period first then decide what possible country where made or maybe a school of.
  2. uncle duke

    A violin bow, Stamped Emile Ouchard

    Wouldn't an original be silver?
  3. 1. Why would you want to change the Perlman school of transcribing? {finger placement} 2. What about the bowing for the next measure? Seems to me you're creating a little bit more work for yourself.
  4. What about the tenth measure? It appears to me that you'd need the "as written" bowings to make the later measures work.
  5. uncle duke

    Authentic Alessandro D'Espine Violin?

    An elevator can be of some use for those with advancing age approaching soon. May as well save some footsteps, if possible.
  6. uncle duke

    violin lining thickness

    I use a #5 plane with the chipbreaker set back some ways from the blade edge to make 7" or 178 mm long linings. All my newly made linings were equal or greater than Herons 1.58 mm thickness suggestion but only about 40% or so would match Mr. Goldblatt's specs. of 1.8 mm, so I thought I'd ask. I made 65 to 70 of them in about an hours time after the 7mm wide wood soaked in water for a few days.
  7. uncle duke

    Fingering for half steps in Chopin Nocturne

    It wouldn't matter so much the instrument used. I could use a guitar for this piece and still have to follow the notes regardless of what the composer named them or what I think they should be - it's the same notes, we're only talking about two of them, just named/notated differently to fall with in the scheme of the named scaled used for writing/composing.
  8. uncle duke

    violin lining thickness

    I have Heron-Allens 1.58 mm lining thickness and Goldblatts 1.8mm to choose from. That equates to U.S. .062 for EHA and .070 for the Goldblatt specs. Quite a bit of difference measuring with a micrometer. Does it matter?
  9. uncle duke

    Fingering for half steps in Chopin Nocturne

    If one can learn and play enough de Beriot exercises and etudes, if that's what they are, he/she will realize de Beriot is hinting that it's time to move on to the Mendelssohn - that'll be true only if Mendelssohn was before de Beriot time period wise though - just my guess.
  10. uncle duke

    Scoop

    If by chance you did observe a Les Paul guitar recurve, as per my reply to Nick, by all means do not incorporate that kind of work to your violin work. You'll simply lose power/volume by doing so. The idea with the recurve/trough/channel/scoop area is to discreetly and intuitionaly wise carve, sand and scrape that area into something that you think will work well for the plan and wood at hand. A discreet scraping job in the lower wing area should be attended too also. Do the scraping but don't make it look like you did so. - the prominent grain lines showing up after scraping the wing is o.k. in my book. I did carry a recurve area for both plates deeper than what appears normal on other violins. It's what the D.G. plan said to do archingwise but afterwards led to a low powered, low volume fiddle that I can play all day long without going deaf. That one may simply need more time to get better. This does not adhere to my "it's better to have it and not need it than to need it and not have it" train of thought for volume and power when needed. This may help a little too. The fiddles I made a few years ago didn't start coming around tonewise for almost two years. I mean the tone was there but it just gets better with time. I guess the wooden pieces, glue and varnish curing have to have their time to come together as a unit. What I'm saying too is not to get too carried away with the bridge cutting and soundpost placements soon after a new build - you can if you want to though.
  11. uncle duke

    Scoop

    If you take a look at your Epi electric you can see the graceful shaping around the perimeter which is known as and is called the recurve. Recurve means to reshape but when I brought that train of thought here to MN for violin work the reply was like no , that's not what it is at all. From the outer edge downcut to the purfling and going inwards to where the arching starts it's concavity should be called the recurve because that what it really, really is. The channel, the way I see it, is the actual dugout trench that the purfling sets down in. The word "trough" can be the 3/8"- 10 mm or so wood removal area above the installed purfling that eventually blends with the outer edge and reflex? area of the upslope - that can be called channeling too depending on which gouge is used. When observing some workers work their cutting work does look like a channel instead of a trough when they're through. Gibson players who recognize what a recurve really is by looking at their own instrument will never win the "what is a recurve pertaining to violin " discussion here at Maestronet, even though we know we're right. Imo, if one chooses to introduce an aggressive looking recurve via scraping do not alienate the corner blocks and surrounding rib structure by removing too much material - give the rightly set soundpost a chance to do all the work.
  12. uncle duke

    Opinions on this label

    For the record my reply was in jest.
  13. uncle duke

    Opinions on this label

    Any new news?
  14. uncle duke

    Ergonomic Viola Idea

    So far I'm getting the feeling that this envisage of family instruments will just be a waste of valuable resources, including the time with whichever composer you may happen to find. Otoh, if you can look in the mirror at yourself and not see a farce or failure of sorts then you have just taken the first step to potential success in regards to working with wood..
  15. uncle duke

    Fingering for half steps in Chopin Nocturne

    Some of your finger positions would work fine for me too. I way of thinking is when the index gets to the F, which ever F it may be, that the B would be there waiting on the next string over.