uncle duke

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  1. uncle duke

    Wolf Tones

    You should not believe everything you read on the internet. First, the fingerboard needs to be made as well as possible - thickness, scoop, width and probably length. Now you are probably tired of messing with fingerboards so what I can do is offer suggestions of what I do when thinning a neck to rid c/b wolf notes. I just happen to take a chance on this and it worked. I had bad c wolf back then. First, the button. My widths at the widest are 21 mm. Most are 20 mm wide and I have one at 19.5 mm. From the outer black purfling line to the front of back plate button are 18 -19 mm with the majority being at 18 mm looking past the chamfer. I checked five of my own builds for measurements. Button thickness 5 mm. From the rib/neck join outwards onto the neck I leave 7 mm of flatness then the shape is refined using a knife. About 25 -26 mm up from the bottom plate, if that makes sense. For the neck shaping I traced the template from Heron Allens manual and made the template depths 15 -15.5 mm deep and 25 mm wide close to the chin area, not on the chin, just close. And then 16 mm deep and 30 mm wide at the other end of the neck before the root. This is a U shaped template from the book, not the guitar? shaped neck that some may be using. I made the template 6mm longer than the depth of the neck without fingerboard though I have fingerboard thickness marks on the template. I try to match the template as close as possible. This is all I can offer because I don't know how you make a fingerboard, which needs to be as right as possible, if possible. So back then, like you read elsewhere, I simply took an exacto knife and started removing small slithers of neck wood. Tickled to death when the c wolf moved down to what was now the b wolf. Kept going and moved the b wolf to a b flat wolf. Try to stay above the a and just below the b flat on the a string. Pay attention to the thickness around the lower f holes with future builds- don't go too thin and try to keep the contour of the arching even.
  2. Now I have all types of questions. Where to start? Under the wiki page for portato I see articulated legato, mezzo staccato and non legato. These terms I can figure out their meaning but my question is which bowing technique do I use? Mostly Pagannini slurred scaler runs with the dots under the tie, some Deberiot is like that too. Detache bowing sure does get one tired after a while whilst trying for a non legato sound. Does it matter, I'm non professional but do want maximum result with minimum effort.
  3. I'll agree only if the sides and back are solid wood - none of that laminated stuff.
  4. Measure 49 - index finger stops the g#, pinky for the next g# though ring finger can work too, 2nd finger for the c# and then shift index finger back to the d string for the fourth note g#. His next note can be reached using the fourth finger, same string, or he can roll to the d# on the next string. depends on finger length, technique taught and or confidence in reaching further up. The idea is to present a lesson/demonstration for others at his school. If he's working his way towards being a teacher one day maybe start thinking along the lines of "if I had a student{s} to teach how could I convey these particular notes into a useful lesson". My understanding of portamento is a grouping of scaler runs where the notes are in succession of each other - like 15 to 25 note scaler runs for example where most are tied together without the staccato dots above. What I see in the above music is just simply play the notes trying for the smooth, legato blending sound. Maybe should of been transcribed using the legato lines above each note.
  5. Do you mean the only way you want to is to roll the finger? Seems if you just employ the shift with the index finger fourth note g# you'll be on your way. This is a decent example to differentiate portamento from legato, if needed. Portamento {slur} is useful in exercises for blending the registers and removing inequalities in tone. Now it sounds like we're describing legato which I think should be different from portamento. If there's time I'd investigate later composers like Mendelssohn and his contemporaries for the two mast schooner version on how to dissect Bach or the seven mast version of Pagannini on how he went about it portamento wise. Then we'll see what portamento and legato is really about which again, I think should be two different things. You could email Yo Yo Ma and ask his opinion.
  6. Granted I have not spent hours daily reading older posts about he but from what I did read it just didn't seem fair to the guy. These were just incidences where I was just lurking/searching different subjects and he'd be there somewheres. After reading I'm like man, he sure does take a beating. I've noticed that over at the other violin website some too. Someones asked a question, Lyndon replies first and then kaboom, someone let's him have it soon afterwards. I just happen along afterwards in a later time period and see or read what can happen to one person when everyone gangs up on him. Didn't seem fair to me and I'll admit I don't know the whole story or stories, maybe better to leave at at that. Did I learn anything while reading such - no except maybe to earn a potential customers trust dealing with rehabbed fiddles.
  7. During my days when I wanted to be like Errol Flynn I would take a section of metal U channel longer than the length of the arrow I wanted to make, lay the squared stock in the u channel, plane to octagon shape and then chuck one end of proposed arrow into an electric hand drill and then shape with sandpaper to whichever diameter needed. With the use of a dust mask/respirator and a glove for the sandpaper holding hand this is also a decent way to make a length of soundpost material for several instruments. Use a micrometer preset from 5.8 to 6.2 mm carefully to check diameter before removing from the drill. Use good wood.
  8. 1. It would be helpful to know the next note after C6. Unless that is the last note, unlikely but possible. No whistling sounds allowed if you don't want to stop. 2. At first I would stop both the B and the Bb. Are you sure B is before Bb?
  9. First, put yourself first and then decide do I dance with the ones who brought me or do I look another way like I'm only as good as my weakest link. Rereading what I just typed seems like a different wording of what you just typed. More emphasis placed on eh? Beings how your still an early riser looking for something interesting to read before breakfast time these days, if it were me, and I felt a comment or two to start the day off is the way to go before starting work, I would. Weather a colleague of yourself or someone like the early morning trollers or wanna be fiddle forgers shouldn't matter much. Just remember some have personal or mental problems before they show up here at Maestronet. This place can be a place of escape for some. I look forward every morning most days just to see what's new and if it just happens to be you just trying to pique someones interest when they're not quite ready is fine with me too. It can only make them better people if they'll let it. I like reading it all good or not so good.
  10. Understood and point taken. As for the soundpost discussion. Hopefully most here make plates with a sorta flattish inner contour area for easier soundpost placement instead of some of the ski slope interiors I tend to carve out that look real well visually but don't hold up soundposts very well at the beginning. That's one disadvantage of building too high and slopey through out the middle section. Doable but it's more work.
  11. What's sad? Surely you wouldn't want me to be keeping being a pest in regards to following Jeffrey's every move would you? That's called being a predator or something like that. There's a caption in the old Petherick manual that states any high level restorer of the violin is not to be bothered in any way, so I always keep that in mind when replying here. We used to have a golden eagle here in Kansas named Tecumseh - if he's still alive these days he's ancient.
  12. He was banned before I joined here and to this day the only fault of his that I can find , if it can be a fault, was that he wasn't a professionally trained workman pertaining to violins. Some didn't like that. Al will have to realize that tomorrow will be another day. I do like where my inexperienced, uninformed blather has taken me so far searching for the holy grail of tone - not quite finished blathering obviously. Yes, I do believe a strong, tough and mentally sound offensive line is a first key to championship football success - right on Chiefs.
  13. I like using red spruce. It's a hardier wood and one can go thinner if need be imo. Wish I had some more of it. How much of the wood is 2.5 mm? Around 2.5 mm like you say could be too thick still in some places and not thick enough at other areas. Slightly weaker at the C's usually means still too much material left on the neck as well as the fingerboard. If there's no wolf problem {unplayable notes} maybe leave well enough alone. If you've really been lurking over the years like most do then you'll find other makers mentioning that it takes quite a few builds to really know what happening or what to do to get things close to right the first time. Well. they're not lying - it takes time to realize that what you used to think is best for your early violin builds turns out later down the road that the thought out theories by yourself or influenced by others just doesn't quite cut the mustard. It simply takes 15 to 20 builds just like they say. I'm at 15 when I start up again and even I'm not really, really sure what is exactly 100% right, if there is such a thing. Live handling of master grade instruments can help some if the discipline and patience is there to begin with.
  14. I don’t know who you are. Help me out. Thanks

     

    john

    1. uncle duke

      uncle duke

      There's only one who knows my real name and that's Jeffrey - he can tell whomever he wants regarding my identity.  I trust he's told no one but some may just need to know just for their own security.  That's o.k.

      I mentioned you in the other post just as an off the cuff typing session.  Old Burgess didn't have to reply to me regarding soundpost setting but he did.  Took about two weeks just for a reply from him.  I remember you inquiring with-in to me for the same possible advice, thought about it for a bit without asking him if I could tell you because you seemed you just really needed to know also but took the chance and told you too.  Made a difference for me to make my wood work better, hopefully helped you too.  Maybe Ernie's soundpost fall down or move all of the time.

      So I won't ask why new Zealand for yourself.  I'm assuming to much mother nature at one time for you guys last year.  Now that you're not there anymore I can tell you the storms and snow are still a problem there - saw it on the news the other day - not your fault John.

      There are a few other great violin makers with the same surname as myself.  Weather or not they post here is unknown to me but I don't want to take the chance of ruining it for them by posting here at Maestronet hence causing possible problems for them name wise.  Maybe when I get real good as a maker that'll change. 

      I'm not sure if any of my old school orchestral members visit Maestronet and know who I am.  If so, I sure they wonder why the violin these days instead of low brass instruments from the old days.  I wonder some too, I guess.  Must be the music.   

  15. The delays don't bother me any. The more time that is sometimes needed to get to me sort of improves my memory. It's like, yeah, I do remember typing that the other day. And then shortly afterwards it's thoughts like what the heck did I type that for? Usually when you don't adhere to your known times of responding/checking moderator approval needed posts I'm assuming the best - you're out gathering work for yourself or making arrangements to do so. It's just when you're not around days at a time is what gets me wondering what's wrong - is he dying, sick, over in England bringing back violins to work on, none of my business really but when one has been on the approval needed firstly since 2016 he gets to figure out some stuff. I haven't figured out if there's three computers used by yourself but I do know there are two. Or one p.c and one phone. Ever since the Tecumseh traversing bit everyday that you're experiencing these days I've quit paying attention to what you've been doing. I mean no harm sir.