uncle duke

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About uncle duke

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  1. Wood ID?

    tulip satinwood
  2. violin ID Help

    Some type of Newark School influence excepting the varnish but I guess that could be too. Hard to really tell from the photos. Just a shot in the dark guess Pyl.
  3. what determines the sound a luthier aims at?

    I'd be highly disappointed if Miss Gregory wasn't using one of your violins for the win at the Sphinx competition. A beautiful sound thru these headphones. If you're chasing that sound keep chasing, if that's one of yours quit searching.
  4. what determines the sound a luthier aims at?

    You know what's cool? Taking a piece of wood for a back plate and using supposedly exact Maggini inside graduation thicknesses and pattern. Just for a few days I feel I can be in touch with a violin maker from 400 years ago. The problem soon after a few days is that the rest of the instrument comes alive or goes south or whatever it does and the sound I think I'd like to pursue or was trying to relate to goes away or becomes part of me where I can't detect it anymore. It is a sound that woke me up some I guess is what I'm trying to say. As for the question "What determines the sound a luthier aims at"? Obviously any newly made Del Gesu back plate will be easily recognized by the informed as compared to a Strad plate. That could or would be a beginning determining stage for sound. Are those two sounds that violin makers prefer to chase? Maybe at first if you're like me. It's a stage or period of time while making that I don't mind being in. It's becoming obvious now that the thing to do is to make the box and let the strings and players do the rest. Once a maker finds a successful sound why change? That's what Melvin and Curious 1 seems to think. I won't doubt them any but when it's Strad making time for me I'm gonna carve all my plates to 340 hz, just like the real pros do.
  5. C-bouts on downwards Iberian/France with a touch of Austria/Germany and maybe Italy for the upper bouts................who would that maker be? I have no idea - just speculating as usual. Scroll doesn't appear German to me from the photos though it could be I guess.
  6. What's the Name of Your Violin?

    I looked inside my violin and found it has it's own name already. It's name is Expressly made for K.C. Strings.
  7. Storing instrument in unheated place

    Maybe make a note of the fingerboard end height above the belly. I would loosen the tension afterwards and if it's a really damp area then maybe make some kind of contrivance to help ensure the fingerboard above belly height remains stable or has a better chance to remain stable. Moisture can expand wood and a fiddle close to water could take a different set over time.. I've read too many stories in the old Petherick repair book about moisture damage to fiddles.
  8. Tired and exhausted while working at the bench

    To be honest the week started out by me running out of fuel on Monday while going to pay a bill while using roads that went up and down closer to each other than what I normally drive. Walked the mile and a quarter home, got another vehicle, got gas, fired up the other that ran out, drove other ride home and walked back to get the other home. So 2 .5 miles of walking - no ill effects, felt good afterwards. I know some are familiar with the one man Putsch timber saws. The same day or the next I worked up the gumption to saw two planks of wood from a 6 x6 - 20 mm wide x 14" and some change. I learned something there. For every 70 push/pulling series of using the saw I could gain 1/2 " depthwise. Took an hour I guess to make one plank. That was somewhat tiring but the next evening I think I was right back out there for the other plank. Still I wasn't really tired. Access to the homemade greenhouse is via a 6 ft. ladder straddling a fence. Most of the wood cutting I did was where the ladder was at. I can save 50 ft. of walking each way just by using the ladder over the fence. So climbing over the ladder several times during a few days time, along with ripping 2 x 10 cca down to 2 x 4 size, probably contributes to my inquiring within here to what to do when one's tired. Yes, there was more than likely more dust breathed in than should of been. Listening to Ricci and Lautenbacher yesterday enabled me to make a neck up to the scroll cut-outs and pegbox hollowing so yes music can make a difference some days. But I've had enough of the neck for the time being - I'll find something easier. I'm thinking I can make an entire fiddle before my perceived outside shop varnishing sessions can take place - third week of April at the earliest.
  9. Publishers and clefs

    Back in the old days there were two reasons but I believe the reason you'd find a few measures of tenor clef in the bassoon bass clef is at one time there was an instrument that wasn't tuned to present day Bb. It's possible the composer knew or found that out and didn't want that "special" instrument forgotten while writing or even transposing to bass clef. And there are the reasons of saving the use of ledger lines while writing and the issue of instruments doubling with singers using choir sheet music mostly because some instruments weren't tuned to Bb yet when they were made then. But why just for a few measures?
  10. Curtate Cycloid Programs

    We should be able to make something for workable templates by hand using straightedge, disks and pencil if 88's system won't work.
  11. Publishers and clefs

    Composer preference probably. Trombone players run into that issue all the time.
  12. Tired and exhausted while working at the bench

    Good idea. I'll start with Ricci and Lautenbacher.
  13. Angles between corners and belly/back plates

    I used a two piece mold for construction a few years ago and I notice my front corners are not straight up and down anymore though I made them perpendicular when new. These were non tapered ribs and blocks and all I used was a higher tailblock sloping gently downwards to a slightly lower neckblock. Doesn't seem to hurt playability or sound any to my knowledge. Probably just weak wood.
  14. What do you guys do? Keep going or walk away for a while. Yes, I had a busy week doing various tasks pertaining to working violin wood and a homemade greenhouse. This morning I want to cut wood for neck stock. I'm not sore by any means. I just have the dragged down feeling but some of my youthfulness still present says to get back out there and work.
  15. Purfling router bit - learning by trial and error

    I have one of the smaller Dremel motors too and I'm thinking I run it full speed when using. My best bit I use appears to be some kind of tile cutting bit. I need another and will probably have to hunt through McMaster Carr catalogs or similar for more bits like that one. I have used the small bit made by Dremel for channels that can be bought from hardware stores but I believe they leave a bit more unneeded width when routing is through. It could also be a bit that's heating up too hot issue causing the slightly wider width. I see what you did with yours. It would take me three passes and maybe four to get that deep safely without breaking bits. Yes, I've broken bits before and the best way for me is just to make several shallow passes to get to the needed depth. Be wary of your spruce grain when running the router - the winter growth lines aren't compatible with the router bits or heat generated. That will cause bit wondering issues. Fix the routing mistakes afterwards. Maybe it's just guitar makers know how to run the Dremel better for violin work. Mr. Darnton was or still is a guitar maker and for myself I've been routing guitar bindings and rosette channels etc since 2005. Maybe it's just an experience issue? The best machine I've seen for purfling grooves was what Edi uses - a pin router set up of sorts. That seems way better than the Dremel. The idea, whichever way you choose, is to make the least evasive purfling channel that you're capable of making.